Joshua Oppenheimer’s brilliant and disturbing genocide documentary, The Act of Killing, has taken the documentary world by storm and, as the Los Angeles Times says, “could well change how you view the documentary form.”

The film explores the aftermath of Indonesia’s mass killings of an estimated 1 to 3 million communists, suspected communists and Chinese people in 1965. Many of the leaders remain in power today and Killing follows some of the most brutal executioners as they make a bizarre film where they reenact the gruesome murders. Instead of opting for graphic imagery of the bloody genocide it documents, Oppenheimer’s work has an aesthetic integrity throughout, which elevates it in a way that is profoundly moving, self-reflexive and far more creative than I could have predicted. Not only is it a jaw-dropping filmmaking feat that will leave you muttering to yourself, “how did this movie get made?” in disbelief as you exit the theater, but it is also in many ways a gamechanger for indie docs.

Between the overwhelming critical response (97% positive reviews on RottenTomatoes) and an endorsement from two of the greatest living documentarians, Werner Herzog and Errol Morris, who signed on as executive producers after viewing the film, The Act of Killing is fast gaining a reputation as a groundbreaking work that cannot be ignored. “I have not seen a film as powerful, surreal, and frightening in at least a decade… unprecedented in the history of cinema,” said Herzog before signing on as an EP. After playing at various film festivals, including the Los Angeles Film Festival, and winning several awards, word-of-mouth seems to be driving audiences to packed art house theaters to see it.  It is currently the highest grossing film in the specialty box office, beating out the much-buzzed-about Fruitvale Station for the top spot.

This isn’t the first time famous directors have been asked to support docs they admire. Microbudget doc Tarnation brought on John Cameron Mitchell and Gus Van Sant as executive producers. But The Act of Killing has leveraged Herzog’s and Morris’ seal of approval in unprecedented ways, with both conducting several interviews, promotional videos and in-person Q&A’s at screenings throughout the country. They are deeply involved and the film’s popularity proves that this PR model is highly effective for building buzz and fundraising for docs.

Also notable is distributor Drafthouse Film’s campaign for the film. Check out the personal request that CEO Tim League sent out to the Drafthouse’s mailing list. Certainly a feather in the Drafthouse cap, “The Act Of Killing is a landmark acquisition for us,” said League, who plans a 30-market release throughout the year, as well as an awards campaign. There is an urgency to the marketing campaign and publicity strategy that goes above and beyond the typical “this documentary is important” claim that audiences are accustomed to. Audiences are being told, “you MUST see this film. Errol Morris and Werner Herzog are telling you it will blow your mind. What are you waiting for?!”

By Lee Jameson / Film Education Coordinator