I think one crucial element of the essayistic mode is how it positions us outside the space of the screen to see how that space operates. In doing so, it redirects our attention back to the material world, to physical spaces, to the forces that govern and shape them, and to our own possibilities to act amidst these forces. We are no longer just eyes glued to a screen; we become minds and bodies reacquainted with our reality.
This rearrangement of our relationship between screens and reality is crucial to realising the potential of the video essay as a mode of activist expression. The rise of video essays proposes a new wave of democratisation of the audiovisual, where everyone can articulate themselves and mobilise others through their self-made media. Key to the realisation of this possibility is developing a collective mindset that can engage this mode in a manner worthy of our best aspirations, both for our screen culture and our social realities.
Q&A with Joshua Oppenheimer hosted by filmmaker Adam Curtis.
The Look of Silence is Joshua Oppenheimer’s powerful companion piece to the Oscar-nominated The Act of Killing, which was screened at the ICA for 52 weeks. Through Oppenheimer’s work filming perpetrators of the 1965 Indonesian genocide, a family of survivors discover how their son was murdered and the identity of the men who killed him.
The documentary focuses on the youngest son, an optometrist named Adi, who decides to break the suffocating spell of submission and terror by doing something unimaginable in a society where the murderers remain in power: he confronts the men who killed his brother and, while testing their eyesight, asks them to accept responsibility for their actions. This unprecedented film initiates and bears witness to the collapse of fifty years of silence.