A family that survives the genocide in Indonesia confronts the men who killed one of their brothers.
A family that survives the genocide in Indonesia confronts the men who killed one of their brothers.
Senyap, La mirada del silencio, 침묵의 시선, Sessizliğin Bakışı, O Olhar do Silêncio, O Peso do Silêncio, Scena ciszy, Indonesias tause fortid, Cum arata tacerea, Η όψη της σιωπής, Im Angesicht der Stille, Pogled tisine, Взгляд тишины, A csend képe
Something happened at a screening of The Look of Silence.
Packed house. People were sitting in the dim room prescreening, in that nice little anticipatory void when the screen is black and the house lights haven't quite gone out.
"This is the kind of movie people go alone to," said one woman, a couple rows ahead of me to her four companions. I nodded. Completely alone in the theater, social dictates mandated that I keep my thoughts to myself.
The lights went out. Rapt silence descended for a little over an hour and a half, a time that at once felt so much quicker and so much longer. The screen eventually fades to black, after this horrifying depiction of the…
Oppenheimer's THE ACT OF KILLING follow-up uses a blunter, equally brilliant conceptual approach for a more sedate and unsettling portrait of the Indonesian genocide and the rampant denial that has allowed the perpetrators to survive. the film doesn't get too caught up in the time-honored literary tradition of the revelatory optometrist, it's just one of the many tools Oppenheimer uses to mediate the memories... if the first film was predicated on a sensationalist feeling of HOLY SHIT, LOOK AT HOW THESE PEOPLE HAVE INTERNALIZED THEIR ATROCITIES, the second is happy to have that out of the way, free to instead consider not just what is remembered, but how we change when it is forgotten. memory is not just an…
"Well, that's how it is... Life on earth. Feel free to take a photo."
If there's a more consistently human modern filmmaker than Joshua Oppenheimer, then please point the way. Back in 2012, he created one of the most appalling, essential films of our time, and now he's returned with a companion piece (although that is selling it short) entitled The Look of Silence, documenting the haunting aftermath and the silent vacuum surrounding open wounds. It is a revolutionary film, both in its questions and its answers, allowing an entire family to reach their respective points of understanding (or a lack thereof) without cloying film-making tactics or underlying motivation. It's a film where each scene is more horrifying than the last, building on a resonant sense of history where a cumulative voice of…
You killed innocent people.
'I don't want to talk about politics.'
You tortured and massacred my family.
'You ask too many questions.'
How do you grant forgiveness to the people who do not ask for them? These people are absolutely blind towards the ugly, disgusting deeds that they've contributed to, be it directly or indirectly, even with newly prescribed glasses they've chosen to look the other way. Politics? Since when did people equate the word with bloodlust and ignorance? The arrogance of these murderers makes my blood boil. In the face of evil and corruption they offered silence, petty excuses, I am looking forward to the day hell is fully booked, won't be too long now.
A gust of madness in their eyes,
burried in a haze of fiction.
Not kings, nor gods, nor noble men,
ripped away that soothing blanket.
You lost your aces, lost your hand,
they stole it from you, can't get it back
Don't you ever try to retrieve it,
it doesn't belong to you no more.
In fact, it never did.
"Once, I brought a woman's head to a Chinese coffee shop."
just packed with lines like that. like THE ACT OF KILLING, i'm simply not capable of processing this rationally. Adam Curtis might label it something close to his "Oh Dearism", but it's so disarmingly, confrontationally personal -- you can just look into that motherfucker's eyes when he's saying that stuff -- that it appears, to me at least, entirely transcendent.
The poster is such a beautiful metaphor for this situation. These people can't see. They can't see the atrocities they've committed. They need someone to come and bring these horrors to light. So a glasses salesman sits them down and makes them answer for their actions...No matter how powerful the prescription I'm afraid they'll never be able to see.
Such a sad, hopeless situation. Such a great couple of documentaries.
Deep focus photography, no score to speak of, and a multi-camera crew allow Oppenheimer to craft a much more visually striking, haunting, pensive film than the first half of this documentary series. There have been about four and a half hours of incisive exploration of the modern reverberations of the crimes of 1965, and yet, it still feels incomplete because justice is yet to be served. The currency of this and its companion do add a sense of urgency to them, a sense of being in the moment that sometimes creates tension that won't be there (I hope) in 50 years. Certainly it will feel like a shock to hear the legislative leader openly threaten to bring genocide back, but…
Dare I say, this is even better than its companion piece, The Act of Killing. While that film focuses more on the perspective of the perpetrators/killers during the Indonesian genocide, in this film, it is now time for the genocide's victims to tell their story. The result was a powerful and heartbreaking meditation on the horrors of war and the grief that comes along with it. Imagine having to interview your brother's killers (plural) one by one...
The past is the past, it is best left there, closed up to remain untouched. This is a sentiment we hear again and again in Joshua Oppenheimer's second film on the Indonesian genocide, spoken by the survivors and their families, as well as the perpetrators and their relatives. Survival is inherently intertwined with suffering however it is inflicted and that lies at the heart of this painful journey.
The director is far more blunt in his approach compared to the surreal reconstructions of the first film. We see Indonesia's past and future through the eyes of optical specialist Adi, his brother slain under the military rule, now searching for a sense of closure to the bitterness that has enveloped his…
I remain a skeptic (heretic?) regarding Oppenheimer's Indonesia project, which for all its inarguable courage and good intentions never succeeds in illuminating these atrocities for me. The Act of Killing offered little insight that seemed to justify providing unrepentant mass murderers with a forum to brag about their crimes; though Look Of Silence is often described as taking the victims’ point of view, it’s really just more of the same, with the garish recreations elided and the brother of one victim serving as an overly symbolic ("let me help you see") proxy for Oppenheimer. The killers have had nearly 50 years to rationalize what they did, and watching them refuse to take responsibility for their actions—even in shots of stony, telling silence—just doesn't strike me as revelatory or cathartic. It's like Errol Morris interviewing Rumsfeld all over again, except replace "Why is this man smiling?" with "Why is this man not speaking?"
Just as powerful as The Act of Killing.
In this film the murderers are interviewed by the brother of one of the communist victims that they killed. He only reveals to them who he is after they have spoken for a while about the atrocities they took part in, which forces them to confront their past even further. Watching the perpetrators attempt to justify their actions after the revelation made for a deeply emotional and tense experience.
Aquele professor poderia facilmente trabalhar na USP.
I don’t believe you can put a rating on these types of documentaries.
To be able to seek forgiveness from these people really takes a special person, especially given that they had 50 years to reflect on it and still don’t regret it. Some go as far as getting pleasure from re-living the experiences.
واحد من أعظم الأفلام الوثائقية التي شاهدت.
عام 1965 بعد الإطاحة بالحكومة الإندونيسية، كل من عارض الحكم الجديد تم اتهامه بالشيوعية، و في أقل من سنة تم قتل أكثر من مليون شخص من طرف مليشيات بحماية الجيش.
في هذا الوثائقي يلتقي "عدي" الذي قتل أخوه الأكبر في تلك المجزرة وجها لوجه مع الجناة المسؤولين عنها حيث لا يزالون يستأسرون بالسلطة، ليعجز اللسان عن الكلام و التعبير لتظهر تلك النظرة الحزينة...نظرة الصمت
slightly different but just as depressing as the act of killing
"We did this because America taught us to hate communists"
Having seen The Look of Silence and Exterminate All The Brutes within a 24-hour period, I have to say if you have the time, double feature it (or at least this and the first part/hour of EATB) as essential looks at humanity. Not inhumanity, humanity. The history of genocides and of mass murders and of tortures is the history of humanity. To look away from that fact is in a way no different from the countless "I'm not responsible"s Adi was forced to hear uttered to his face when wondering why he can't see his brother anymore, and honestly it's part of why this history continues seemingly without cease: we…
On the one hand, it's kinda cool and interesting and powerful blah blah, but on the other hand, bit wanky.
I could never comprehend the pain and the experience of it all. Watching this film just reminded me of how many times my mom has tried to tell me her story (in Khmer rouge) and still got choked up every time.
We are shown the truths of a nation refusing to be accountable for a historical genocide slowly coming to light. The Look of Silence captures the lack of closure from the 65’-66’ mass killings with more disturbing humanism balanced with gut-wrenching tenderness compared to its more popular companion piece, The Act of Killing.
The encounters with the killers remain just as chilling. The camera reveals layers of truth beneath the lack of remorse from these killers. They all seem to be running away from the accountability, revealing the hardening facades which unfortunately contribute to propagating their past ideals that should be left buried. The documentary is unafraid to criticize the unjustifiable existence of “silence” when what people should really be doing is to speak loudly on the truths of the past, and open the wounds, in order to prevent these cruelties from ever happening again.
Sometimes, silence can unearth the truth that verbosity is used to cover.
Those moments of quiet in this documentary are probably the most telling of all.
Long-standing Irreparable pain, guilt and sorrow live in the looks of the people featured in this - those who did the atrocious acts that are spoken of and those who were affected.
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