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Political authorities, neighbors, even relatives and friends have blood on their hands, and acknowledge as much. For half a century, survivors have lived among those responsible for the deaths of their loved ones. The encounters are, for the most part, unnervingly calm and decorous. Sometimes he conducts eye exams while asking questions, his professional bearing blending with his gentle, insistent manner of interrogation. Oppenheimer and a film crew, to confront his brother’s killers. His mother recalls the day of Ramli’s disappearance with unbearable clarity and undiluted sorrow, while his father, who is frail, mostly blind and over 100, drifts in and out of awareness. Rukun was born in 1968, and he is haunted less by traumatic memories than by their terrible absence. We watch video of the two men, around 10 years after it was shot, in the company of Adi Rukun, a soft-spoken ophthalmologist whose brother Ramli was killed by the Komando Aksi, a paramilitary organization in the Aceh Province of Indonesia. Their laughter is all the more horrifying for seeming free and un-self-conscious, as if they were recalling incidents of youthful mischief. Early in the film, two elderly men stroll down an overgrown path to the banks of the Snake River, gleefully demonstrating how they beat their captives, dragged them by the feet and then hacked them to death with knives and machetes. “The Look of Silence” visits a classroom where young children are taught that the killings were justified. Oppenheimer, filming in Indonesia over more than a decade, found that this ideology was still very much in place. We should be rewarded with a trip to America.” Recalling the Cold War context of the atrocities, he notes that “America taught us to hate Communists.” A death squad commander matter-of-factly talks about “exterminating Communists” for several months and concludes that “because this was an international matter, we should be given a gift. On the contrary, they bask in a glow of righteous vindication. In “The Look of Silence,” it is clear that many of the killers, whose political sponsors are still in power, feel little or no regret for their actions. In the earlier movie, perpetrators of the massacres eagerly re-enact their crimes, borrowing costumes and attitudes from American genre movies, as if they were western or film noir heroes. Like its companion film, “The Act of Killing,” released in 2013, it examines the mass killings that began in Indonesia in 1965, when at least a million people were slaughtered in the aftermath of a military coup. “The Look of Silence,” a documentary directed by the American filmmaker Joshua Oppenheimer and an anonymous Indonesian collaborator, is a painful, profoundly empathetic work of moral reckoning.

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