TEATER UBIJANJA ( The Act of Killing )
Joshua Oppenheimer, Christine Cynn / Danska, VB, Norveška, Švedska, Finska / 2013 / 164 min /
Vznemirljivo katarzičen dokumentarec, v katerem režiser prepriča nekdanje vodje indonezijskih paravojaških enot, da si sami izberejo filmske žanre, s pomočjo katerih bodo ponovno uprizorili svoje osebne izkušnje množičnih pobojev komunistov. Po od ZDA podprtem in toleriranem vojaškem udaru v Indoneziji leta 1965, ki ga Naomi Klein v Doktrini šoka imenuje celo kot »šolski primer doktrine šoke« so tamkajšnje režimske paravojaške enote ubile več kot milijon komunistov. Zločinci so do današnjega dne ostali nekaznovani, indonezijski politiki pa jih še danes ščitijo. Anwar Congo in Herman Coto sta se sprva z velikim navdušenjem odzvala vabilu režiserja, da bi v dokumentarcu ponovno odigrala prizore zagrešenih zločinov, a med snemanjem začneta o svojih zločinih razmišljati drugače. Po oceni številnih kritikov in komisij po svetu eden najboljših in najbolj vplivnih dokumentarcev zadnjih let, ki je pomembno vplival tudi na politično realnost v Indoneziji in širše ter poleg presunljive zgodbe vrhunsko zajel sprijenost sodobnega neoliberalnega kapitalističnega sistema, ki se v gonji za moč in profit ne ozira na nič in nikogar.
The film focuses on the Indonesian killings of 1965–66, an ostensibly anti-communist purge in which more than 500,000 people were killed. When Suharto overthrew Sukarno, the President of Indonesia, following the failed coup of the 30 September Movement in 1965, the gangsters Anwar Congo and Adi Zulkadry in Medan (North Sumatra) were promoted from selling black market movie theatre tickets to leading the most powerful death squad in North Sumatra. They also extorted money from ethnic Chinese before killing them. Anwar is said to have personally killed 1,000 people by methods such as strangulation with wire.
Today, Anwar is revered as a founding father of the right-wing paramilitary organization Pemuda Pancasila that grew out of the death squads. The organization is so powerful that its leaders include government ministers who are openly involved in corruption, election rigging, clearing people from their land for developers, and genocide.
Invited by Oppenheimer, Anwar and his friends recount and re-enact their experiences and some of their killings for the cameras, and make dramatic scenes depicting their memories and feelings about the killings. The scenes are produced in the style of their favorite film genres: gangster, western, and musical. Various aspects of Anwar and his friends’ filmmaking process are shown, but as they begin to dramatize Anwar’s own nightmares, the fiction scenes begin to take over the film’s form, leading the film to become increasingly surreal. Oppenheimer has called the result “a documentary of the imagination”.
Some of Anwar’s friends state that the killings were wrong, while others worry about the consequences of the story on their public image.
After Anwar plays a victim, he cannot continue. He says that he feels what his victims have felt. Oppenheimer, from behind the camera, states that it was worse for the victims because they knew they were going to be killed, whereas Anwar was only acting. Anwar then expresses doubts over whether or not he has sinned, tearfully saying he does not want the memories of what he did to come back to him. He revisits the rooftop where he claims many of his killings took place, and gags repeatedly. The dancers from the film’s theatrical poster are seen before the credits begin to roll. ( source: Wikipedia)