Back in 2013, the Danish-based filmmaker Joshua Oppenheimer stunned the world with The Act of Killing, a documentary about Indonesia’s blood-soaked past and how political institutions had conspired to turn murderous gangsters into national heroes.
Whereas most serious-minded documentarians approach difficult subject matter through the performance of journalistic objectivity, Oppenheimer’s film about mass-murder took its stylistic cues from the people who did the killings. Secure in the knowledge that they continued to enjoy the support and gratitude of Indonesian political elites, the killers chose to celebrate their past using a combination of surreal dream-sequences and colourful dance routines resulting in a documentary that looked and felt like a beautiful fever dream.
According to Oppenheimer, his intention was always to make two films about the anti-communist purges and how contemporary Indonesia manages to function with a million deaths on its collective conscience. The Act of Killing is a film about the transformation of gangsters into heroes, its brash visual style a reflection of its subjects’ surreal arrogance. The Look of Silence, on the other hand, is a devastatingly quiet film filled with awkward silences, which is precisely what you would expect from a film inspired by people who have spent decades trying to keep their feelings under control.