[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-43134-en":3,"doc-seo-43134-105":29,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},43134,8796095461564,"Liam","https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d",8,"Research & Report","The Look of Silence: An Interview with Joshua Oppenheimer and Adi Rukun","The Look of Silence is presented through an interview with Joshua Oppenheimer and Adi Rukun, linked to Oppenheimer’s earlier documentary The Act of Killing. The conversation explains how filming evolved across two periods, beginning with old perpetrator footage and expanding into new material shot in 2012. It describes the project’s origins in survivor-led requests to understand ongoing fear and life among still-powerful perpetrators, including Adi Rukun’s role as an optometrist and his pursuit of answers about his murdered brother Ramli.","CINEASTE  \n# The Look of Silence:An Interview with Joshua Oppenheimer and Adi Rukun\n\nAuthor(s):Melis Behlil,Joshua Oppenheimer and Adi Rukun  \nSource:Cinéaste,Vol.40,No.3(Summer 2015),pp.26-31  \nPublished by:Cineaste Publishers,Inc.  \nStable URL:https://www.jstor.org/stable/43655492  \nAccessed:23-10-201908:35 UTC  \nJSTOR is a not-for-profit service that helps scholars,researchers,and students discover,use,and build upon a widerange of content in a trusted digital archive.We use information technology and tools to increase productivity andfacilitate new forms of scholarship.For more information about JSTOR,please contact support@jstor.org.  \nYour use of the JSTOR archive indicates your acceptance of the Terms &Conditions of Use,available athttps://about.jstor.org/terms  \nCineaste Publishers,Inc.is collaborating with JSTOR to digitize,preserve and extend accessto Cineaste  \n# The Look of SilenceAn Interview with JoshuaOppenheimer and Adi Rukun\n\nTn 2012,Joshua Oppenheimer's documentary The Act of Killingwas released to great critical acclaim,winning numerous prizes,I including an Academy Award nomination [see“The Act ofKilling:An Interview with Joshua Oppenheimer\"by Melis Behlil,Cineaste,Summer 2013).The film,about the legacy of the 1965 mas-sacres in Indonesia,has now been joined by a companion piece.TheLook of Silence follows Adi Rukun as he tries to communicate with  \nThe reason was that Ramli's murder,unlike others in the region,had witnesses.There were passersby who saw him being hacked up,left for dead,and begging for help.His body was later brought to theplantation and left there,to be found by his parents and other plan-  \ntation workers.So Ramli'sIn his new documentary,the director of The Actdeath was undeniable.You have an entire com-of Killing turns his camera toward the survivorsmunity traumatized byof the fifty-year old massacres in Indonesia,assomething,but thenthey continue to seek both answers and justice.threatened by the military  \ntwined.Would you talk about howthe project began,evolved,and atwhat point Adi Rukun becameinvolved?  \nAdi Rukun's work as an optometrist provides the filmmakers with theperfect excuse to meet and interview perpetrators in The Look of Silence.  \nand perhaps elicit an apol-ogy from the men whomurdered his older brotherin 1965.While less explicit-ly violent than The Act ofKilling,The Look ofSilence is no less emotion-ally devastating,focusing  \nSomehow to talk about Ramli,whose grave they would pass every-day at work,was like pinching themselves to be sure they wereawake,to insist on their own sanity.  \nby Melis Behlil  \non a family that is forced to continue living amongst the perpetrators oftheir son's brutal murder.The film premiered at the Venice Film Festi-val in August 2014 where it won five awards including the Grand JuryPrize and the International Federation of Film Critics(FIPRESCI)Award.Since then,it has been shown at numerous festivals worldwide,including Toronto,Berlin(where it won the Peace Film Prize),andSxSW.Cineaste interviewed Oppenheimer and Rukun in Toronto andAustin.—Melis Behlil  \nCineaste:The Look of Silence premiered two years after The Act ofKilling,but both films'production processes seem to have been inter-  \nJoshua Oppenheimer:The Lookof Silence was shot over two peri-ods.There's the old footage of theperpetrators that Adi is watching,which was shot from 2003 to2005.Then there's the bulk of thefilm,which was shot in 2012 afterI finished editing The Act ofKilling,but before I released thefilm,because I knew it would beimpossible for us to safely returnto Indonesia after its release.Ifirst went to Indonesia in 2001 tohelp a group of plantation work-ers make The Globalization Tapes,a film about their struggle toorganize a union.I found outquickly that their biggest obstaclewas fear,because their parentsand grandparents had been killedin 1965 for being in a union,andthey were afraid this could hap-pen to them again.Virtuallyeverybody on that plantation wasrelated t","cbCaivUbQmMBoFgm","https://ap.wps.com/l/cbCaivUbQmMBoFgm","pdf",3696423,1,7,"English","en",105,"# The Interview and Film Background\n## Links to The Act of Killing\n## Filming Timeline and Process\n## Origins with Plantation Workers and Fear\n## Adi Rukun’s Involvement and Interviews","[{\"question\":\"What is the relationship between The Look of Silence and The Act of Killing?\",\"answer\":\"The Look of Silence is described as a companion piece and a sequel to The Act of Killing, shifting the camera toward survivors and the enduring legacy of the 1965 massacres.\"},{\"question\":\"How did the filming process and timeline of The Look of Silence develop?\",\"answer\":\"The film used older footage of perpetrators shot from 2003 to 2005, while the main bulk was shot in 2012 after Oppenheimer finished editing The Act of Killing and before its release.\"},{\"question\":\"Why did the project begin and how did fear shape it?\",\"answer\":\"After making The Globalization Tapes with plantation workers, survivors urged another film to explore why they were afraid, what it is like to live with perpetrators in power, and whether fear could lead to renewed 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