345:' reaction to the film was “Every now and then a non-fiction film comes along that is unlike anything else I have seen: Buñuel’s LAND WITHOUT BREAD, Werner Herzog’s FATA MORGANA, Hara’s THE EMPEROR’S NAKED ARMY MARCHES ON. Well, it’s happened again. Here Joshua Oppenheimer invites unrepentant Indonesian death squad leaders to make fiction films re-enacting their violent histories. Their cinematic dreams dissolve into nightmares and then into bitter reality. Like all great documentaries, THE ACT OF KILLING demands another way of looking at reality. It is like a hall of mirrors––the so-called mise-en-abyme––where real people become characters in a movie and then jump back into reality again. And it asks the central question: what is real? Gabriel Garcia Marquez, in a Paris Review interview, wrote about reading Kafka’s “Metamorphosis” for the first time, “I didn’t know you were allowed to do that.” I have the same feeling with this extraordinary film,” and Werner Herzog reacted “THE ACT OF KILLING invents a new form of cinematic surrealism.”
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DocWest is involved in a wide array of activities, including teaching, film production and academic research. The primary objective of these efforts centers on the examination of documentary discourse, encompassing its historical development and its intricate interrelations with art and politics. The
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Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance.
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Archive and the book Killer Images published by
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Killer Images: Documentary Film, Memory and the
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Brink, Joram ten; Oppenheimer, Joshua (11 December 2012).
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