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The Look of Silence (2014)

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A family that survives the genocide in Indonesia confronts the men who killed one of their brothers.

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Nominated for 1 Oscar. Another 46 wins & 35 nominations. See more awards »

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Cast

Credited cast:
Adi Rukun ...
Himself, brother of murdered Ramli Rukun
Rest of cast listed alphabetically:
M.Y. Basrun ...
Himself, former commander of a civilian militia
Amir Hasan ...
Himself, former leader of death squad (archive footage)
Inong ...
Himself, former leader the village death squad
Kemat ...
Himself, survivor from Snake River massacre
...
Himself (voice) (as Josh)
Amir Siahaan ...
Himself, former commander of Snake River death squads
Ted Yates ...
Himself, reporter, NBC News (archive footage)
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Storyline

An Indonesian man with a communist background killed when the "Communist" purge occured in 1965. After that, his remained family members lived in fear and silence. His brother visits the suspected killers and their companions at the present time as an eye-examiner. These meetings uncover the details of the killings, which possibly will give them the answer from the questions about the real executor and the killing process. He forced to face his own fear and meet the people whom possibly responsible for his brother's death. Written by Gusde

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated PG - 13 for thematic material involving disturbing graphic descriptions of atrocities and inhumanity | See all certifications »

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Details

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Release Date:

17 July 2015 (USA)  »

Also Known As:

A csend képe  »

Filming Locations:


Box Office

Opening Weekend:

$6,616 (USA) (17 July 2015)

Gross:

$109,089 (USA) (6 November 2015)
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Company Credits

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Did You Know?

Trivia

Adi was given a camera by the director to shoot scenes or memories to inspire the narrative of the movie. The final scene of Adi's father not knowing where he is was one of the scenes shot by Adi which made it into the film. See more »

Connections

Follows The Act of Killing (2012) See more »

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User Reviews

 
Oppenheimer is the Most Important Documentarian of his Generation
29 July 2015 | by (United States) – See all my reviews

With just two films to his name, both about the Indonesian mass-murders of the mid-1960's Oppenheimer has become the most important documentarian of his generation.

His second film, "The Look of Silence", coupled with his "The Act of Killing" has created a sea- change in the Indonesian truth, justice and reconciliation movement. Forcing new laws to be written and putting the government in a defensive position against the nation's media.

But Oppenheimer is more than an activist. He's an artist. His films are contemplative, playful and quietly confrontational. His visual attack is succinct, his marriage of form and theme is flawless and his moral intent is thunderous.

Where "Act of Killing" was concerned with a larger study of post-massacre Indonesia, "Look of Silence" chooses a more intimate landscape. Geographically, emotionally and cinematically it is regional. Concerned with a single killing, the men who did it – directly and indirectly - the family it affected and the small village that has lived with questions about other killings like it for fifty years. Where "Act of Killing" lived in absurdist grand cinema, "Look of Silence" exists in tight close-ups of the perpetrators, survivors and truth-seekers. More than anything, more than words, their faces tell the story. So much happens behind the eyes, around the corners of the mouth, in unspoken glances. The horror, doubt, guilt and seemingly impossible reconciliation stirs below the surface. For all the cinematic flex of "Act of Killing", this contained take on the same material, seems more haunted and human.

The star of the film, Adi the eyewear peddler, pursues this mission with intelligence and courage. We meet his family. His happy playful daughter, his thoughtful son, his cautious loving wife, his ageless mother (probably the most engaging character captured on film this year), his wisp of an ancient father, and his memory of a murdered brother, looming over everything. From them he finds the courage to question murderer after murderer face-to-face. The combination of his profession as an optometrist with his quest to seek truth would seem heavy-handed if it were fiction, but nothing here is inauthentic. In showing all of Adi's family, from the fresh and young, to the spent and dying, we see the full arc of life.

Lastly, the film makes a glancing but firm indictment against the American anti-Communist fervor that fed into - and the American corporations that profited from - these killings. It gives strong evidence that the Cold War, the war of ideology and the murder of millions, allowed for, and was even fought for, Western corporate dominance in places like this. And here the grinding up of human beings for profit in this situation is undeniable. Oppenheimer wants to make sure no one involved gets off without having to face, if not their own role in the massacre of millions, then at the very least, their culture's.

And so it goes, the people (wives, mothers, daughters, sons, fathers, husbands), the silence, the haunted jungle hum that fills most of the auditory space in the film, the great and overwhelming significance of it all… everything pools together to show us something words alone can't manage. Something about how a horror can be so great that its impact can loom over generations. About living with debilitating fear of those who have claimed power over you through violence. About the most nightmarish tendencies in humanity, and our courageous capacity to overcome the worst of ourselves. About just how difficult it is to look into the eyes of a killer and say, "I know what you did."

And more profoundly, more frighteningly… "I know you."


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