The Act of Killing burst onto the world stage two years ago, an explosive high-wire act combining the most rigorous historical research and a truly visionary approach to nonfiction filmmaking. It was, and remains, a controversial film, both for its slippery line between art and nonfiction and its much-debated strategy of working closely with mass murderers. These questions of art and ethics are at the very soul of True/False, and it remains a film that, regardless of where you stand, demands to be seen and discussed as part of the new nonfiction canon. Joshua Oppenheimer’s director’s cut expands the run time, building out narrative elements that were only sketched in the official US release and adding muscle to a film that stands as an epic achievement in cinematic nonfiction. To quote no less an authority than Werner Herzog, “You have not seen The Act of Killing until you see the director’s cut.”(DW)