Posted in: by Robert Horton, Contributors, Documentary, Film Reviews

Film Review: ‘The Look of Silence’

Adi Rukun

Joshua Oppenheimer’s 2013 documentary The Act of Killing earned an Oscar nomination and a raft of astonished reviews. There were skeptics, however, who questioned the film’s nausea-inducing strategy of encouraging the mass murderers of Indonesia’s mid-1960s genocide to proudly re-enact their atrocities for the camera. That’s a point worth raising, but with the release of The Look of Silence, we glimpse Oppenheimer’s larger canvas. This film—not a sequel, but a complementary project—has an interrogator.

Instead of the neutral camera-eye of The Act of Killing, we see the new film from the perspective of Adi Rukun, an optometrist (born in 1968, after the slaughter) whose older brother was tortured and killed during the purge.

Continue reading at Seattle Weekly

Posted in: by Sean Axmaker, Contributors, Documentary, Essays

Aftereffects: Joshua Oppenheimer’s Shorts

‘The Globalisation Tapes’

“I’ve never thought of myself as an activist. I do think, though, that the purpose of art is to force us to confront the most painful and important aspects of who we are.”
—Joshua Oppenheimer, interviewed by Jessica Kiang at Indiewire

American-born filmmaker Joshua Oppenheimer is a 1997 Marshall Scholar, a 2014 recipient of the MacArthur “Genius” Award (the same year that Alison Bechdel was so honored), and director of Academy Award nominated documentary The Act of Killing (2012). From his earliest films, he’s experimented with new forms with which to explore big themes and historical forces, and he’s explored issues of representation and “truth” inherent in the form in articles and books on the subject of non-fiction and documentary.

“In so-called ‘fly-on-the-wall’ documentary, there’s a claim that the camera is a transparent window onto a pre-existing reality. But what really is happening is that the director and the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present,” he explained at the 2015 Based on a True Story documentary conference. “No one forgets the presence of the camera, no matter how long it’s there. All documentaries are performance. They are performance precisely where people are playing themselves.” It’s the quantum physics of filmmaking: the act of observing changes the behavior of the observed. His solution is to incorporate the tools and the practice of filmmaking into the structure of the film.

Continue reading at Keyframe