The opening scene of The Act of Killing raises the first of many startling questions: What on earth does a line of beautiful female dancers, emerging from a huge fish sculpture beside a picturesque lake -- in a scene that looks like it belongs in a Fellini movie -- have to do with the massacre of more than 1 million Indonesians in 1965? The second shocking question comes soon after and continues to be raised throughout the film: Why are the men in this documentary, all of them self-proclaimed paramilitary "gangsters" who carried out hundreds, if not thousands, of these murders, often laughing?
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The Act of Killing lets the killers explain their actions in an unusual way. Director Joshua Oppenheimer takes viewers on an unsettling journey through the history and psychology of men who killed without justice or remorse, who not only prospered from their deeds, but remain in power to this day. With obstinate pride, the film's subjects lay bare the moral imagination that makes them heroes in the national myth. In a mind-bending twist, they do so by making their own movie about their brutal deeds in the style of the American westerns, musicals and gangster films they love -- playing both victims and perpetrators. There is even a spiritual message in their tale -- which is the cue for those dancing maidens.
When the government of Indonesia was overthrown by the military in 1965, Anwar Congo and his friends were promoted from small-time gangsters ("free men," as they called themselves) who controlled the black market in movie tickets to death squad leaders. They helped the army kill more than 1 million alleged communists, ethnic Chinese and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar killed hundreds of people with his own hands. Borrowing a bloodless technique from mafia movies, he strangled his victims with a piece of wire, which meant less cleaning up afterwards. It also meant years of night terrors for the killer.
There wasn't even a presumption of guilt on the part of the victims to justify the killings. Anwar and longtime friend Adi Zulkadry emphasize the helplessness that overtook the people they routinely abducted, tortured and killed in grisly ways--often inspired by Hollywood gangster movies. They freely admit they killed people without mercy and on the slightest pretexts. They didn't just kill alleged communists; they attempted to eradicate whole strata of Indonesian society, including its Chinese immigrants. This is part of the myth of today's "free" Indonesia -- and the enduring celebrity of the executioners.
Why would Anwar and young men like him so readily take to mass murder? In The Act of Killing, he and some of the men recall that that one reason they sided with the military was because the elected government had banned American movies, a source of revenue for them. The media also played a part. Newspaper publisher Ibrahim Sinik not only identified who should be killed, but felt, "as a newspaper man, my job was to make the public hate them." According to one ex-paramilitary, "The key to not feeling guilty is finding the right excuse."
Now, nearly 50 years later, Indonesia has entered an era when children of the executed are beginning to speak out. "All this talk of human rights pisses me off," says Anwar, and then more chillingly, "Everywhere in the world there are people like me." Hence his need to make a movie to solidify the historical record of his group's "patriotic struggle."
It is in this movie-within-a-movie that the deepest drama of The Act of Killing unfolds. Desperate to convince themselves that what they did was right, the killers dramatize their crimes, from attacking entire villages to offering a victim one last cigarette before he dies. But Anwar, who has already been disturbed by bad dreams, is waking to increasingly worsening nightmares as the film progresses--he and his friends dramatize those nightmares with costumed characters playing the ghosts of those he killed. He even has the crew fashion mannequins of himself as a dead man -- murdered by his own victims -- to recreate one of his fever dreams. Yet after a day's work, he impishly calls his grandchildren in to watch grandpa on television before they go to sleep.
Kenichi Soga elected to the National Academy of Engineering Meet our new faculty: Laureano (Lau) Gherardi, ecology Meet our new faculty: Matthew Backus, economics OpinionBerkeley BlogVoicesAll opinion Kenichi Soga elected to the National Academy of Engineering Meet our new faculty: Laureano (Lau) Gherardi, ecology Meet our new faculty: Matthew Backus, economics MENUMind & body, Research, Science & environment, Technology & engineeringScientists use brain imaging to reveal the movies in our mind By Yasmin Anwar, Media Relations September 22, 2011January 14, 2021
As yet, the technology can only reconstruct movie clips people have already viewed. However, the breakthrough paves the way for reproducing the movies inside our heads that no one else sees, such as dreams and memories, according to researchers.
The brain activity recorded while subjects viewed the first set of clips was fed into a computer program that learned, second by second, to associate visual patterns in the movie with the corresponding brain activity.
Brain activity evoked by the second set of clips was used to test the movie reconstruction algorithm. This was done by feeding 18 million seconds of random YouTube videos into the computer program so that it could predict the brain activity that each film clip would most likely evoke in each subject.
Finally, the 100 clips that the computer program decided were most similar to the clip that the subject had probably seen were merged to produce a blurry yet continuous reconstruction of the original movie.
Reconstructing movies using brain scans has been challenging because the blood flow signals measured using fMRI change much more slowly than the neural signals that encode dynamic information in movies, researchers said. For this reason, most previous attempts to decode brain activity have focused on static images.
After the success of the first two Ip Man movies, Yen has finally returned for one last time for the third instalment. Reunited with director Wilson Yip, Ip Man 3 also features current in-demand martial arts actor Zhang Jin (The Grandmaster, SPL II: A Time For Consequences) and former heavyweight boxing legend-turned-actor, Mike Tyson.
Ever since Ip Man 3 has been locked in for a Christmas Eve release date this year, there has been a considerable amount of anticipation surrounding the movie. Whether you are a fan of the Ip Man movies, Donnie Yen, or the martial arts genre, here are five reasons why you should watch Ip Man 3
Yes, Bruce Lee was already introduced in the second Ip Man movie, but his scene was merely a brief cameo towards the end. This time, Bruce Lee will be featured prominently in the third movie, and the studio has definitely made the right choice picking Danny Chan to play the younger version of the late legendary martial-arts superstar. Danny Chan, is of course, best known for his supporting roles as the goalkeeper in Shaolin Football and the Axe Gang leader, Brother Sum in Kung Fu Hustle.
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