I was aware there would be no hope in seeing anything better than The Look of Silence as soon as I saw that it existed. Oppenheimer’s The Act of Killing shows a destroyed nation where its executors still hold power over the subjugated survivors, and the documentary evokes Werner Herzog (an executive producer on both films) as it heightens Indonesian genocide to divine tragedy. The essential antidote is The Look of Silence, a film which returns to earth and places an optometrist named Adi as a sort of vigilante investigator into his own brother’s death in those genocides. The latter evokes the other executive producer, Errol Morris (The Thin Blue Line, The Fog of War) as it chases down those involved in Adi’s brother’s killing, but does not lose sight of the prior film’s gorgeous cinematography. If The Look of Silence were fiction, it would be receiving the same criticisms as Bridge of Spies, called a Capra-esque morality tale that sits as too unbelievable to be successful. As reality, the confrontations Adi has with those who perpetrated the genocide, or those who willfully enable their family members who did, are some of the boldest filmmaking I’ve ever witnessed. The Look of Silence is the year’s best film.