The filmmakers challenge former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers. Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodeling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers. Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one 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 himself killed hundreds of people with his own hands. The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.
Marc-André Leclerc climbs alone, far from the limelight. On remote alpine faces, the free-spirited 23-year-old Canadian makes some of the boldest solo ascents in history. Yet, he draws scant attention. With no cameras, no rope, and no margin for error, Leclerc's approach is the essence of solo adventure. Nomadic and publicity shy, he doesn't own a phone or car, and is reluctant to let a film crew in on his pure vision of climbing. Filmmaker Peter Mortimer sets out to make a film about Leclerc but struggles to keep up with his elusive subject. Then, Leclerc embarks on a historic adventure in Patagonia that will redefine what is possible in solo climbing.
The fourth episode starts off with the two riding through Santa Cruz, Argentina. The plan is to cross over into Chile and then going up into the Andes. Ewan and Charley head through Argentina’s red rock landscape while a member of their team copes with altitude sickness. The duo are well and truly underway and the first signs of all are well is how well the Harleys hold up in challenging conditions. The roads alternate between unforgiving and pleasant and these e-bikes push through effortlessly. As they ride through Chilean Andes, the audience is shown a picturesque view of the beauty of the countryside, an experience which Boorman calls 'magical.'
A powerful movement is exploiting our fears, persuading some to believe the vaccine was designed to control or even kill us. Who are the people behind the international anti-Covid-vaccine movement and why are they doing it? In the anti-vax movement - where is the money? The money comes from a small but very well-heeled network of donors and philanthropists who fund anybody reinforcing their opinions. The film is a journey inside the astonishing world of the anti-vaxxers.
The Arctic is the harshest environment on Earth: little food grows, it's dark for months on end, and temperatures stay well below freezing for much of the year. Yet four million people manage to survive here. Human Planet tells remarkable stories of extraordinary people who make their homes in nature's deep freeze. In springtime, Amos and Karl-Frederik set out across the sea ice with their dogs to catch a real-life sea monster: a Greenland shark! Inuit mussel-gatherers venture underneath the sea ice at low tide for a perilous race against time as they gather their food. And the children of Churchill, Manitoba, set out on the most dangerous trick or treating Halloween in the world: they risk coming face-to-face with deadly polar bears on the streets of their town. Who'll get the tastiest snack?
Academy Award-winning director Alex Gibney (Taxi to the Dark Side) masterfully explores the fall of the disgraced cycling champion following the 2009 Tour de France, making use of his extraordinary access to attain rare interviews with former teammates, alleged doping mastermind Dr. Michele Ferrari, and Armstrong himself. What was Lance Armstrong thinking? For years, after seizing international fame as the cancer survivor who won seven Tour de France titles, he fiercely denied accusations that he used performance-enhancing drugs. He used his power to aggressively litigate journalists and publicly humiliate former friends who claimed otherwise. His deceit finally cracked in January 2013, when he admitted guilt to Oprah Winfrey in a television interview that critics decried for only scratching the surface. Academy Award-winning director Alex Gibney approaches Armstrong with unique and extraordinary access. In 2009, Gibney was commissioned to make a film about Armstrong's return to the Tour de France, four years after the racing champion had declared retirement. That race would later stir up devastating evidence in the case against Armstrong. But Gibney came away from the experience unable to reconcile the discrepancy between doping allegations and Armstrong's emphatic denials. Then, post-Oprah, Gibney went back to Armstrong for new interviews to extract a more detailed account of his double life. In The Armstrong Lie, Gibney masterfully explores the complexities of the case, interweaving the dramatic action of the 2009 Tour de France, when Armstrong found himself unexpectedly competing against his own teammate Alberto Contador. Gibney attains rare interviews with Armstrong's former teammates and alleged doping mastermind Dr. Michele Ferrari. The film also raises troubling questions about the process of doping regulation. Recently, when asked to give advice to documentary filmmakers, Gibney responded with a motto exemplified by this film: "Embrace contradictions."
Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one 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 himself killed hundreds of people with his own hands.
The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.