Tag Archives: Joshua Oppenheimer

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The End

by Hope Madden

In 2012, Joshua Oppenheimer co-directed (with Anonymous, to keep the second filmmaker from being murdered) my personal pick for greatest documentary ever made. He won the Oscar two years later for The Look of Silence, a sequel of sorts, but The Act of Killing is unlike anything else ever made and will stay with me until I die.

That’s not the only reason I was excited about The End, Oppenheimer’s narrative feature directing debut. There’s also Tilda Swinton and Michael Shannon, two of the greatest living actors. It’s a musical, but I won’t hold that against it.

Don’t think Wicked. The End is not dazzling song and dance numbers boasting stellar vocals set to catchy tunes you’ll be humming after the credits roll. The somber choreography and overlapping vocals feels a bit more inspired by Sondheim, and the setting is anything but dazzling.

George MacKay plays Son. He was born in the underground bunker Mother (Swinton) and Father (Shannon) evacuated to with Butler (Tim McInnerny), Doctor (Lennie James) and Friend (Bronagh Gallagher) sometime before climate change irreversibly destroyed the planet. They arrange and rearrange the masterpieces of the artworld that crowd their walls, swim to keep healthy, and practice emergency drills. Meanwhile Son is helping Father write his autobiography, that of the brave philanthropic energy tycoon who is definitely not to blame for the fall of mankind.

And there is fragile, manufactured, numb peace among them underground. Until Girl (Moses Ingram), an outsider, a survivor of the disasters that have claimed nearly everyone on the planet, makes her way to their compound.

With the influence of the outsider, each member of the little community reflects on what they’ve ignored for years: the little inconsistencies, the fictionalizations, the lies they tell themselves and each other to get numb. To forgive themselves of what a person is willing to do to someone else to survive.

It’s a clever conceit artfully executed. Each performance is beautiful. James and Gallagher are especially powerful in smaller roles. Oppenheimer’s script, co-written with Rasmus Heisterberg, quietly unveils each self-serving, nearly innocent sin that becomes the inescapable rot that ruins a civilization.

Aside from one devastatingly absurd number showcasing Shannon, the music doesn’t add a lot. Swinton’s not much of a singer (well, at least we’ve found the one thing she isn’t good at), which makes the songs a little harder to bear.

In the end, The End is a bold, admirable film that’s sometimes too obvious, a bit too long, and a tad gimmicky to meet its aspirations.

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For Your Queue: Best Documentary of 2013

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Available today on DVD and Blu-ray is the most breathtaking, mind boggling documentary of this or perhaps any year, The Act of Killing. Director Joshua Oppenheimer, along with dozens of filmmakers who remain anonymous for their own safety, work with the people who slaughtered more than a million Indonesians in 1965 to reenact their own crimes – or heroics, as they see it. The result is absolutely unlike anything you have ever seen. A jaw dropping act of discovery, the film is a masterpiece, a brave and confrontational effort, and essential viewing.

We usually pair new releases with backlist titles that match up well, but honestly, there is nothing on earth quite like The Act of Killing. The best we can do is to recommend Hearts of Darkness: A Filmmaker’s Apocalypse (1991). The documentary looks at the making of Coppola’s extraordinary film, detailing the unsavory chaos on set and the madness of the shoot – another peek inside insanity.





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Demanding to be Seen

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by George Wolf

 

Surreal, perverse, curious and horrifying, The Act of Killing demands to be seen as much as any film in recent memory.

It is anchored in the atrocities committed during the overthrow of the Indonesian government in 1965. Paramilitary death squads and ruthless gangsters captured, tortured and killed at will, all under the guise of exterminating “communists.” Over one million Indonesians lost their lives, and those responsible continue to gloat about their actions from a seat of power they still enjoy today.

Co-director Joshua Oppenheimer met with some of the most famous death squad leaders and made them a distasteful yet ultimately brilliant offer:  would they re-enact their savagry on camera?

The result is mesmerizing, can’t-believe-what-I’m-seeing-stuff.

As they gleefully reveal their love of American film genres, the murderers show themselves as man-children, the result of lives lived running amok without fear of parental or social reprisal. Throwing themselves into the task, they utilize makeup, costumes, props and local extras to film dimly lit drama scenes and extravagant musical numbers, while discussing their bloodlust with a devastating casualness.

Three specific paramilitary leaders take center stage, two of whom show little to no remorse for their actions, explaining that “war crimes are defined by the winners.” The third, an aging grandfather named Anwar Congo, is different. As the ghosts of his past are unearthed, we see a man often struggling to come to grips with himself. While it is not a sympathetic portrait, the transformation in his demeanor is fascinating.

Fearing reprisals, many names in the final credits (including that of the Indonesian co-director) are replaced with “Anonymous.” Two names that do stand out are those of acclaimed documentarians Errol Morris (The Thin Blue Line/The Fog of War) and Werner Herzog (Cave of Forgotten Dreams/Grizzly Man), who serve as executive producers.

Recalling the finest of their work, The Act of Killing is unforgettable. It calls to mind past cruelty, an Orwellian present and an uncertain future, emerging as essential, soul-shaking viewing.

 

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