The Look of Silence explores aftermath of genocide with startling cinematic poetry — a film review
August 14, 2015
It takes a strong constitution to look into the abyss presented by The Look of Silence, the latest documentary by Joshua Oppenheimer, the Oscar-nominated director behind 2012’s The Act of Killing. Beautiful images of the lush Indonesian jungle and a soundtrack that mostly features crickets are juxtaposed against tales of the horrors of the Indonesian genocide of 1965/66 and its terrible effects on its survivors. In this “war,” the military sat back and let propaganda do its work, as mostly civilian death squads took charge of killing the communists, intellectuals and Chinese immigrants that allegedly threatened their society. The Act of Killing already documented all kinds of killings in Indonesia, detailed by several boastful perpetrators. Oppenheimer showed how they are treated as heroes in Indonesia today, as those in power got there because of this genocide.
Though it takes on the same subject, The Look of Silence is a very different movie. Gone are the surreal, staged reenactments by the killers. Instead there is but one reenactment, and it’s only shown on a 4:3 TV screen watched by Adi, the son of elderly survivors who lost their first son, Ramli, during the massacres. It shows two old men laughing about eviscerating their victims by the Snake River before throwing their remains in the water. They also go into stark detail of how they chopped at one victim, including a humiliating death blow. That victim was Adi’s brother.
Despite the collaboration of many victims in The Act of Killing, all were simply credited as “anonymous” for their protection. Adi and his parents, however, not only appear on camera, but Adi also goes out to interview known members of the death squads, seeking some apology for the death of a brother he never knew. His job as the village’s optometrist gives him access but also acts as metaphor. Oppenheimer never makes it feel heavy-handed, as he prefers to explore the silences with rich images. It’s a film that primarily exists between the lines of action. It’s in the pacing of the shot/reverse shot during Adi’s interviews or his silence as he watches the two jabbering old men in the video. It’s also in the wide shots of the gorgeous jungle that grows fruitful because of the past and its decay. Still, no amount of finesse can overshadow the crimes against humanity committed in the past, and Oppenheimer emphasizes this by repeating certain set pieces.
For instance, both killers and survivors repeat, “The past is the past.” The past certainly provides the distance necessary to cope with the horror, but Oppenheimer doesn’t allow it to cloud the viewer’s judgement of these scenes. He presents no archival footage to validate the statement. He keeps The Look of Silence firmly in the present, but the weight of the past is felt everywhere. Actions define the victims and the perpetrators now and what kind of people are they.
So who are these people? They are Adi’s father, who, according to his mother, started losing his teeth after Ramli was killed. He’s now a shell of a person, lost to dementia, an object that sometimes lets out a groan of discomfort, as Adi’s mother bathes him, scrubbing with a familiar, routine purpose. Then there are the perpetrators who blame another time for what they did, even though those in power today are there as a result of the mass killings. The past is also no to be trusted. As in an early scene in an elementary school classroom where a teacher tells his half-bored students, including Adi’s son, about the evils of communism. He bends down to a boy and points a pen to his eye as he talks about communists who gouged the eyes out of their enemies. The only concrete presentation of the past, however, is in that video Oppenheimer shot about 10 years prior and Adi obsesses over.
These are people, but they are also walking metaphors for the effects of these crimes. They are human, breathing records of the effects of a society born of impunity. Adi is the lone optometrist trying to open everyone’s eyes. His mother is sadness personified whose longing for her murdered son is only qualified by her belief that Adi is his reincarnation. The father of Ramli, is the saddest of the lot. Adi’s mother says he began losing his teeth after the death of Ramli. Now his is blind, toothless and demented. In one harrowing scene shot by Adi, he scoots around the house on his behind patting at the walls, calling out for help, that he doesn’t recognize the building. Hope, however, lies in Adi’s two children, a daughter who still finds flatulence funny and a son who Adi must constantly re-teach history in spite of his teacher’s propaganda.
We meet the kids as they watch jumping beans, larvae that struggle so violently to get out of their shells that they jump. Oppenheimer does not make The Look of Silence some precious movie about seeking closure. These are people deeply scarred by a most dehumanizing kind of warfare that pitted neighbor against neighbor. They are not victims searching for a way to forget the past and move on but accept it in order to live with it and move forward. The Look of Silence is an extraordinary document of the dark nature of humankind and a testament to its ability to heal. It’s a film that must be experienced fully, with eyes open, for the sake of our own humanity, as well.
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You can read more about this movie in my interview with the film’s director:
Joshua Oppenheimer, director of The Look of Silence, talks influences, follow-up movie and “the past” — an interview
Screening update: The Look of Silence returns to our Miami area thanks to the Miami Beach Cinematheque starting Friday, Sept. 4 (see screening calendar here).
The Look of Silence runs 103 minutes, is in Bahasa and other Indonesian dialects with subtitles and is rated PG-13 (the most disturbing thing about it is the details of the past). It opens in our South Florida area exclusively at O Cinema Miami Shores today, Friday, Aug.14. It plays only for the weekend. If you live outside of Miami, visit this link for other screening dates and locations. Drafthouse Pictures provided a screening link for the purpose of this review and also provided all images in this article. Finally, listen to me on WLRN today as speak in praise of this movie as well as as films at 1 p.m. EST. The live stream is here. The show will also later be archived on that page.
Joshua Oppenheimer, director of The Look of Silence, talks influences, follow-up movie and “the past” — an interview
August 13, 2015
For his follow-up to 2012’s The Act of Killing, documentary filmmaker Joshua Oppenheimer returned to Indonesia to once again explore the late 1960s massacres of innocents that put the nation’s current government in power. With The Look of Silence, once again, Oppenheimer, co-directing with the victims and the victims’ family members who he credits as “anonymous,” creates a stark testament to a grim history. As opposed to The Act of Killing where he spoke to only the perpetrators who killed people with clubs, knives and steel wire with impunity, The Look of Silence features the family members of one of the victims.
Speaking via phone from New York City, the Danish-born filmmaker reveals he first thought of this film before he shot The Act of Killing. However, he only began shooting The Look of Silence in 2012. It was actually too dangerous to identify survivors of the massacres because the current government could have imprisoned them or worse. People still live in fear of the government in Indonesia, and the release of The Act of Killing has now given him and his victims a kind of protection, though he still had to be careful not to shoot interviews with people who were too high-ranking in the government.
Oppenheimer calls The Look of Silence and The Act of Killing mirror images. He says the title The Look of Silence also came to him before The Act of Killing. Explaining the film’s title he says, “It was, above all, a definition of a project of making visible, of making palpable something normally invisible, this silence born of fear and the traces that fear and silence leave on a human life. How can you look at a family that’s lived for 50 years afraid and in silence, and in forced silence, and see the traces of that and how can you discern the inventive ways that people find to live with dignity and love, despite being surrounded by the powerful men who killed their loved ones.”
It’s a profound observation for a heavy subject. The family Oppenheimer spotlights is that of Adi, a village optician who makes the rounds testing the eyes of his neighbors, including some who actually participated in the massacre. And it is Adi who conducts the interviews with some of the perpetrators. They share with him chilling stories of drinking the blood of their victims to keep from going mad. But what mainly gets to Adi is footage Oppenheimer shot of two elderly men while making The Act of Killing. The two men stand at a clearing by the Snake River and admit they were the ones who killed Adi’s elder brother, Ramli, They even act out their actions and go into gruesome details of each machete blow that they remember. And they laugh.
The film also features Adi’s parents, his mother, who calls Adi the reincarnation of Ramli, and his father, who is now blind, toothless and suffers from dementia. In a particularly unnerving scene that Oppenheimer says Adi shot one day when he was home alone with his father, his father suffers an episode and begins crawling on the ground patting the walls crying that he doesn’t recognize where he is. “Adi explained to me, ‘I shot this because I couldn’t comfort him that day,” says Oppenheimer, “because I was a stranger to him, and I realized that it’s too late for my father to heal. He’s forgotten the son whose murder destroyed his life and his family’s life, but he hasn’t forgotten his fear, and now he’ll die like millions of others, in a prison of fear. It’s too late for him to heal because he’s forgotten what happened, and I don’t want my children to inherit this prison of fear.’”
Indeed, this is a stark movie that dwells not so much on explaining but understanding how to heal from such a past for the sake of the nation’s future. A sort of mantra is repeated by both survivors and perpetrators of the genocide: “The past is the past.” Oppenheimer explains this reasoning thus: “It’s a statement that absolutely belies itself because the survivors always say it out of fear, and the perpetrators always say it as a threat, indicating that the past is not the past. It’s right there, keeping people afraid. It’s a gaping wound. It’s an abyss dividing everybody. Keeping survivors afraid and a kind of threat by the perpetrators. The past is right there and is open … That’s really the experience of the film. I tried to create a film that’s so immersive that it goes beyond a message.”
Oppenheimer has created a poetic film, actually. It is much more than a documentary (my review: The Look of Silence explores aftermath of genocide with startling cinematic poetry). The quality of his filmmaking stands alongside the work of Errol Morris and Werner Herzog, two of contemporary cinema’s most influential and important documentary filmmakers. Both even acted as executive producers on The Look of Silence. However, Oppenheimer names very different filmmakers as influences on this film. “I kind of made a study in preparation for this use of silence of two filmmakers. I suppose for the viewing scene, I was thinking more of the work of Robert Bresson. Diary of a Country Priest, for example, the closing shot of that film, where you see a face reacting to memory and reacting to the plights of the world and the trials that are being thrown at the priest, and in the dialogue scenes, I was thinking about Yasujirô Ozu, whom I think is a master of creating dialogue scenes where everything important being said is articulated through silence and shame as opposed to the words.”
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You can read much more about the film, its story and Oppenheimer’s intentions in an article I wrote for the Arts and Culture blog of “The Miami New Times.” I’m quite proud of it. Jump through the logo of the blog below to read an even more insightful piece on what is sure to be one of the greatest documentaries of the year:
Screening update: The Look of Silence returns to our Miami area thanks to the Miami Beach Cinematheque starting Friday, Sept. 4 (see screening calendar here).
The Look of Silence opens in our South Florida area exclusively at O Cinema Miami Shores on Friday, Aug.14. It plays only for the weekend. If you live outside of Miami, visit this link for other screening dates and locations. Drafthouse Pictures provided a screening link for the purpose of this review and also provided all images in this article.
‘Act of Killing’ directors respond to Oscar nomination
January 16, 2014
This morning, the nominees for the Oscar® awards were announced. Among those nominated for best documentary* was the already plenty-award-winning film the Act of Killing, which also won best documentary from us at the Florida Film Critics Circle. The film’s co-director, Joshua Oppenheimer sent us a statement regarding the nomination this morning: “We are deeply grateful. This nomination is an honor for us as filmmakers, but for the survivors and victims it is a crucial first step in their country’s acknowledgement of a moral catastrophe— the horror of the genocide and the on-going regime of fear and corruption built by the killers. May it also be a first step toward healing.”
Last week, Cinedigm Entertainment released the extended cut of the Act of Killing on home video. I first spoke to Oppenheimer last year. We spoke fast and deep about this film, and much of our conversation can be found in this post featuring two articles:
An interview with the director of ‘the Act of Killing’; more in ‘Miami New Times’ (August 16, 2013)
However, as is usually the case, even with two articles, there was still left over material from our interview. I don’t even think I had room to note that Oppenheimer is actually credited as co-director with Christine Cynn and “Anonymous,” the latter representing the survivors of a virtual genocide in Indonesia following a coup d’état that left over a million dead in 1965. 
They too spoke out about the Academy Award nomination: “The Act of Killing— and the issues of impunity it raises— will make front-page news today in Indonesia. Our schools still teach children an official history that glorifies genocide, and our government continues to celebrate mass murderers as national heroes. They do so to keep us afraid, so we won’t dare hold them accountable for their crimes. I hope this nomination encourages us to demand truth, justice, and reconciliation.”
That fear was the source of inspiration for making the Act of Killing. Oppenheimer revealed the project began with the Globalisation Tapes, a film he made with Cynn about a Belgian-owned oil pump plantation in Indonesia that manufactured palm oil (take note, Nutella lovers), which documents the struggles of workers with abuse and inhumane working conditions (the film was never released on home video, but you can view it free here). Oppenheimer noted that the workers were threatened into not forming a union and had to endure forced labor and pesticides that killed mostly women over the age of 40. “Turned out that the reason they were terrorized into silence was that their parents and grandparents had been in a union until 1965 and had been accused for being communist sympathizers simply because they were in a union, had been rounded up, put in concentration camps and dispatched out to be killed by local death squads, and they were afraid that this could happen to them again.”
This piece of history that still haunts much of the Indonesian population became the inspiration for the Act of Killing. However, the filmmaking was met with many roadblocks by Indonesian officials. “As soon as we came back and word got out that that’s what we were doing, the army would come and stop us from shooting with them,” Oppenheimer said.
The victims that compose “Anonymous” then gave Oppenheimer and Cynn the idea to focus on the perpetrators because, they said, they would gladly not only share details about the killings they committed but also show off about them. The filmmakers struck a goldmine of material to work with. “I found they were all boastful. They were all open,” said Oppenheimer. “I found myself in Germany 40 years after the holocaust, and the Nazis were still in power.”
The filmmakers were able to brew up a surreal concoction of staged movie scenes featuring the killers themselves among traditional documentary footage. The mix of gangster film, musical, horror movie and documentary makes for a surreal experience that feels more truthful than most documentaries. The Act of Killing takes an exploration into the depths of the soul of men corrupted by heinous acts to a whole other level.
Oppenheimer said he prefers the extended cut of the film, a near-three-hour odyssey into the heart of remorse and revelation unlike most anyone will ever see, which can be found on the home video release. He notes one of the film’s executive producers also prefers this longer cut to the U.S. theatrical cut: the famed documentary filmmaker Werner Herzog (the other noteworthy executive producer is Errol Morris).
The director also noted that some of the subjects of his film have seen this extended cut. “Anwar [Congo] was very, very moved by it. He was silent from a long time after watching it, a little bit tearful, and he said, ‘This film shows what it is like to be me. I am grateful to have had the chance to finally express feelings that I have been discouraged from acknowledging for so many years.’”
Oppenheimer noted he and Congo, who he filmed over the course of five years, have remained in touch, “and always will because we’ve been on such a painful, intimate and ultimately transformative journey.”
Then there was Herman Koto, who never hesitated to dress in drag during many of the staged scenes. “Herman has seen the film and loves the film,” said Oppenheimer. “Herman, over the course of the film, fell in love with acting, developed an actor’s loyalty to the truth. A good actor has to have a loyalty to the moral and emotional truth of any situation that she or he is acting in. He does.”
Oppenheimer said Koto also came to his own revelation about the group he belonged to, the sort-of neo-fascist Pancasila Youth, which still hold rallies celebrating the killings to this day. “He became more disillusioned with Pancasila Youth because he came to understand more and more deeply the horror upon which it’s all built. So he’s been very supportive of the film.”
Someone Oppenheimer did not bother showing the film to was Adi Zulkadry. He explained, “He recognizes in the film exactly what the film will do and decides to leave the film for that reason, and he has high connections with the paramilitary leadership in Indonesia, and I was worried that if he saw the film he could start lobbying against the film and that could jeopardize our plan for distributing the film in Indonesia and could make it unsafe for people to screen the film … All high-ranking political leaders who appear in the film inevitably hate the film, as well as they should, or else it would mean I didn’t do my job.”
Though, throughout the Act of Killing, the filmmakers keep the implications of U.S. culpability to these killings on a subtle level in the film, juxtaposing destitute neighborhoods and the fancy malls tourists and the upper class frequent in Jakarta, it’s not lost on Oppenheimer that there was something culturally criminal at play here. Therefore, there could be some poetic justice if the film indeed wins the Oscar, come March 2. “There could be a whole film made, certainly a book written, about the U.S.’s role in supporting the genocide,” he said. “but that would be a historical film. The Act of Killing is not a film about the past. It’s a film about today. It’s about how the past is abused in the present … The moral and cultural vacuum of sort of rampant capitalism and consumerism. The alienation, the hollowness of consumerism is a character that haunts the whole movie.”
In South Florida, The Act of Killing returns to the Cosford Cinema on the University of Miami’s Coral Gables campus for two nights only this weekend (buy tickets).
*Also nominated for best documentary feature was another Indie Ethos favorite, Cutie and the Boxer (Film Review: ‘Cutie and the Boxer’ looks beyond art for the heart of a long-term relationship)
After the Act of Killing’s director Joshua Oppenheimer began talking with several survivors of a killing spree in Indonesia following a coup d’état that left over a million dead in 1965 at the hands of thugs drafted by the military to weed out accused communists, intellectuals and ethnic Chinese, he had no idea he would become friends with one of those killers. The documentary focuses on Anwar Congo, the last of the 41 perpetrators he met during a total of eight years trying to make this film. Speaking over the phone from a hotel in New York City, Oppenheimer said they still speak. “He and I have remained in touch every three to four weeks,” he said, “and I think somehow we always will because we’ve been on such a painful, intimate, ultimately transformative journey together.”
The transformation comes about in the film on a rather surreal but brilliantly therapeutic level when Oppenheimer asks Congo and other executioners to act out the killings in brilliantly shot if hokey dramatic reenactments that cover genres from gangster films, musicals to ghost stories. The director noted that the reenactments were designed to work on a higher meta-level as being symptomatic of the perpetrator’s boasting and impunity. However, something surprising happened with Congo. “Each time we would shoot a scene he would watch the scene, and he would be very disturbed by what he saw, but he would not dare to say what was wrong with the scene,” said Oppenheimer. “Basically, he would displace the guilt on something trivial like, the costumes are bad, the acting or the genre, and he would propose a new scene. So in a sense he was trying to run away from his pain the entire time, and that’s the fuel for the whole process.”
He points out that with the Act of Killing he was not seeking to make a sentimental film or a psycho-drama. “That would be obscene and wrong,” he emphasizes, adding that this all happened rather serendipitously. He says he unconsciously focused on Congo but, in hindsight, remorse underlined all his seeming boasting. No matter the argument, deflecting or escape, below it all lies a conflicted awareness of guilt. “I don’t think I met a single perpetrator over all these years that did not know that what they did was wrong,” Oppenheimer stated.
During their first meeting, Congo admits to Oppenheimer that he was often drunk or high during the killings. At first, the admission seems to highlight the “thrill” of killing, but in actually it was one of the many ways Congo found an escape from confronting the horror of his actions. “That’s right,” Oppenheimer agreed. “Anwar’s conscience is present from the very beginning.”
Congo also notes that gangster movies inspired his methods of killings, including garroting by wire. He also throws around an appreciation for Pacino and Brando.
However, don’t blame violence in movies for his behavior because Congo also notes a sense of euphoria after watching Elvis Presley musicals and stabbing people in the street. What’s up with that? Oppenheimer points out that something more sinister underlies these forms of cheap Hollywood films: numbing escapism. 
“Some people have made the link that violent movies cause violent behavior, but Elvis Presley musicals are the most vivid example [Congo] gives: of walking out of a midnight show dancing his way across the street, intoxicated by his love of Elvis and killing happily, and Elvis musicals are not violent. They’re just stupid, and I think the real risk is escapist storytelling. How we tell stories, all of us, you, me, everybody to escape our most painful and bitter truths.”
And this is what makes the Act of Killing, which climaxes in one of the most visceral scenes of remorse one will ever see committed to film, the most disturbing horror film you might ever experience.
You can read much more of my interview with Oppenheimer and watch the film’s trailer on the website of the Miami New Times and its art and culture blog Cultist. Jump through the logo below:
The Act of Killing is in Indonesian and English with English subtitles, runs 115 minutes and is not rated (the violence is all staged and/or recalled as stories, but it’s more disturbing than you might be able to imagine). It is playing exclusively in South Florida at O Cinema in Miami, for which I originally wrote this interview. It’s playing across the globe now, even having distribution in Indonesia. For worldwide screening information visit the film’s official website (that’s a hot link).
Update: the Act of Killing opens Sept. 6 at the Miami Beach Cinematheque and Sept. 15 at the Cosford Cinema on the University of Miami’s Coral Gables campus.
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