Christian Petzold’s film Phoenix and Joshua Oppenheimer’s The Look of Silence are both about the need to face and make peace with the painful past that would seemingly be easier to ignore.
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Earlier this year, the Art Gallery of Ontario held an exhibit of Henryk Ross’s photos from the Lodz Ghetto. It was hidden in the corner of the museum, and most of us who saw it were Jews. I had enormous trouble trying to persuade my gentile friends to see it with me. They heard the words “holocaust photographs” and decided they’d rather spend their Sunday afternoon with less depressing thoughts. Yet this was no ordinary exhibit. It’s the first outside of Israel to display the only photographic evidence we have of ghettos during the holocaust that’s not only not Nazi propaganda but taken by a Jew in the ghetto.
Some images are particularly hard to look at: the deportations, starving bodies, and family photos of children that would be exterminated the next day. Everything about Ross’s photographs was heroic. He used his Statistics Department camera to surreptitiously snap forbidden photos. He documented the hardships and the good. When the Nazis destroyed the synagogue, he captured the rubble and the man who rescued the Torah from destruction. Taking and then hiding the photos was an act of bravery. But what is the point if we don’t bear witness, no matter how much we don’t want to? And if we don’t bear witness, how can we live with what’s happened and prevent it from happening again?
[clickToTweet tweet=”In PHOENIX and THE LOOK OF SILENCE, the traumas of the past are still part of the present.” quote=”In both films, the traumas of the past are still very much part of the present.”]
Facing the past when ignoring it is easier
It’s this very conundrum that the characters in Christian Petzold’s post-World War II film Phoenix struggle with. How do you face and make peace with the painful past that would seemingly be easier to ignore? It’s also the subject of Joshua Oppenheimer’s documentary about the Indonesian genocide in 1965, The Look of a Silence. In both films, we see people intent on, if not forgiving (or apologizing), then forgetting. Excavating past wounds would be too painful. But no matter how much they’d like to pretend otherwise, the traumas of the past are still very much part of the present.
Listen to our podcast about Transit
When Petzold’s film Phoenix opens with the tune “Speak Low,” it’s pitch black outside. Nelly (Nina Hoss), a former nightclub singer, is en route to a hospital for facial reconstruction surgery. Recently liberated from the concentration camps, her face is bandaged from the gunshot wound she was lucky enough to survive. Everything about her demeanour is small and feeble, meek and embarrassed. Hoss hunches over, taking up as little space as possible while her hands quiver slightly at the smallest provocation.
[clickToTweet tweet=”In both films, people are intent on forgetting because excavating old wounds would be too painful.” quote=”We see people intent on forgetting because excavating past wounds would be too painful.”]
In Christian Petzold’s film Phoenix, Nelly also begins in denial
All Nelly wants is to return to her old life, to how things were before. That begins with repairing her face, though the surgeon warns her that it will never be quite the same. Her denial runs deep. She still insists she’s not a Jew. Nelly’s close friend Lene (Nina Kunzendorf) informs her that her husband Johnny (Ronald Zehrfeld) sold her out to the Nazis. But Nina remains unfazed by his alleged betrayal, convinced Lene must be mistaken. She can’t wait to reunite with him. His memory, she claims, is what kept her alive through her struggles in the camps.
Nelly spends most of this atmospheric and stunningly gorgeous film as a ghost in limbo. When she leaves the hospital, she emerges amid the rubble of Berlin, tentative in every movement. She takes temporary rooms in the city while Lene prepares the paperwork for their passage to Israel. Nelly seems less than thrilled with the plan. The apartment is nice, clean, and well-maintained with good furniture but sparse. As the camera keeps its distance from Nelly, we feel emptiness. A house is not a home. Aside from the landlady, they never cross paths with anyone else. The place has the appearance of a boarding house. It’s another kind of limbo like the sterile, seemingly empty hospital.
Nelly’s husband doesn’t seem to recognize her in Christian Petzold’s film Phoenix
When she finally crosses paths with her husband, he’s changed his name and doesn’t recognize her (she never identifies herself). But he does think she looks just enough like his wife, Nelly, to help him scheme to collect her inheritance. Holed up with him in his dank, basement apartment, he gruffly teaches her how to be her former self. But there’s a warmth and tenderness behind it all. He becomes obsessed with making her resemble the old Nelly in appearance. In so doing, she finds herself again from the outside in.
But his cluelessness about the camps and disinterest in learning more is troubling. To him, they’re merely a fact, a part of history. To her, they’re vivid memories, haunting every movement. Johnny’s plan is full of fantasy. He wants her to appear to return by train, dressed to the nines and full of joy. In other words, he wants her to pretend that she hasn’t experienced the same horrors as the other returnees. He wants her to be glamorous and attract attention. It’s immaterial to him that most survivors look so run down that gentiles avert their gazes and avoid asking questions. The inauthentic plan bothers her, but Johnny knows what she doesn’t: how other German gentiles think. Nobody will notice, and nobody will ask about the camps.
[clickToTweet tweet=”There comes a point when not being able to tell her story is worse than telling her story.” quote=”There comes a point when not being able to tell her story is worse than telling her story.”]
Is Johnny also in denial?
Does Johnny know it’s her? There’s a certain kind of complicity here. So long as he thinks she’s not his wife, he can boss her around, teach her facts, and be in control. If he were to realize (or admit to himself) that she is who she is, the power dynamic would shift immediately. He’d be ashamed, beneath her. In one scene, Petzold builds the blocking around how Nelly tries to hide her forearm in a not-quite-long-sleeved dress. We know what this means and why, and she’s squirming in awkward and evasive ways.
Yet Johnny never bats an eye — nor did I, the first two times I saw the film. On re-watch, her intentions seems so obvious that I could hardly believe how subtle it seemed before. In fact, it’s easier to just think she’s squeamish as no doubt Johnny does. On some level, he must know, but it’s too hard to admit. It’s part of why he can’t hear stories of the camps.
Nina Hoss is remarkable in Christian Petzold’s film Transit
Hoss’s step-by-step transformation from trembling and small to straight-backed and ready to perform is a marvel, a fascinating performance to behold. The more Nelly gets her sense of self back from Johnny’s lessons, the more unsettling she finds his ability to sweep the war and all its horrors under the rug. Showing her a photo of their friends, he casually notes the ones that were Nazis. But to her, it’s jarring new data to process.
[clickToTweet tweet=”Hoss’s step-by-step transformation from trembling and small to straight-backed is a marvel.” quote=”Hoss’s step-by-step transformation from trembling and small to straight-backed and ready to perform is a marvel”]
She’s ready to believe the hard evidence of his betrayal at a certain point, because it fits, even if she’s still not ready to let go. There comes a point when not being able to tell her story is worse than telling her story. The more willing her friends are to treat the war as though it were in the distant past, the more alienated she becomes. Even if they weren’t directly responsible for the atrocities she experienced, they stood idly by. In the end, it’s only through a song that she can reveal herself, in a cathartic release of all that pain and emotion. It’s a heart-wrenching, beautiful ending; the final images are perfect. Surrounded by her friends’ denial, she no longer belongs. Until they can face facts, she never will again.
Acceptance doesn’t happen in Phoenix until the film’s climax
Though Nelly’s ultimate acceptance of this fact is the final, climactic moment in Phoenix, it’s a deep truth that informs and inspires the investigation of the past in The Look of Silence. Director Joshua Oppenheimer follows Adi as he confronts the men behind his brother’s slaughter with empathy and composure. Adi is a forty-year-old Indonesian optometrist whose brother was murdered in the 1965 genocide.
Perhaps “confronts” is the wrong word, for his goal is to generate a dialogue, make peace, get at the truth, and forgive, if given the opportunity. Adi was born two years after his brother, Ramli, was killed. He may not have been alive at the time, but the trauma of the coup is still fresh and present to Adi: the perpetrators are still in power. Almost everyone around him, including his neighbours, took part in the killings. They were richly rewarded for their service, too.
After The Act of Killing
In 2012, Oppenheimer released The Act of Killing, in which he interviewed war criminals, including the leaders of the death squads, who were responsible for the deaths of 1 million people when the Indonesian military overthrew the government. The historical record, a pile of lies still earnestly taught in schools, maintains that the victims were all “communists,” people without religion who deserved to be slaughtered, and chopped to pieces. In that film, the perpetrators boasted about their killings, re-enacting them in gory detail with glee, pride, and excitement.
When Oppenheimer showed the footage he’d recorded to his friend Adi, whom we see watching it on television in The Look of Silence, dumbstruck with horror, Adi concluded he needed to face these men himself. He felt that if they apologized, he could forgive them, and perhaps it would give him some closure. Oppenheimer shot The Look of Silence after he finished The Act of Killing but before it screened publicly anywhere.
Confronting perpetrators in The Look of Silence
The perpetrators they visit are all elderly men now, and Oppenheimer is very careful about how he introduces them. The first footage we see of each is of a seemingly normal, maybe even infirm old man, before a chyron flashes with an indictment. With calm, compassion, and genuine curiosity, Adi matter-of-factly asks them about their roles in the anti-communist purge. He tells them, “When I meet older people, I like to learn about the past.” Because Oppenheimer was doubtful that the men would be able to take the moral responsibility for what they had done, he doesn’t shoot these scenes as interviews. Rather, it’s an encounter between two people, where what’s most important is what goes unsaid.
Adi slowly probes the perpetrators. He asks where they were during the killings, whether they were a part of them, and if people still fear them. Surprisingly, most are anything but tight-lipped, though what they spout is a mix of party propaganda and lies, excuses for their actions. They may be able to own that they had murdered people, but not that they are culpable. As Adi refuses to accept what is so often lies, he probes them further, revealing inconsistencies with their story, and trying to have a real conversation with them.
Silence is a coping mechanism in both films: Oppenheimer’s The Look of Silence and Petzold’s Phoenix
Adi’s sense is that the men’s unwillingness to speak openly with the whole truth is indicative of just how deep their guilt runs: it’s a coping mechanism. In one scene, Adi meets with a family whom Oppenheimer knew well — he had spent months documenting the patriarch’s accounts of his slaughters. Yet they flat-out deny all accusations of his culpability or participation in the genocide. They get frustrated and angry. It’s one of the most powerful scenes in the film because it reveals what they’re incapable of saying, coping with, or facing. Ultimately, most will end up declaring, “past is past,” in an effort to end the conversation. Oppenheimer follows one instance with a gorgeous, literal image of water flowing under a bridge at night, a haunting reminder that these events are anything but.
The substance of the film is, unsurprisingly, in the silence. There’s the past that Adi’s parents won’t talk about, a deafening silence. There’s the past that the murderers are only too happy to recall — until they’re pressed about their lies. Adi gives them space, a silence to fill. Although Adi asks difficult questions, his silence is crucial, too, never issuing angry indictments, for his mission is to understand, to move forward, not to crucify. Oppenheimer tells so much in the closeups of Adi, stoically listening as the horrid words wash over him. So much is there in the faces of the men who refuse to own up to having done something wrong.
Breaking the silence in The Look of Silence
Oppenheimer’s film itself is an act of breaking that silence, bringing the past into focus where we can reckon with it. We can watch Phoenix, steeped in 1940s hairdos, jazz music, and the destroyed streets of Berlin, and convince ourselves that it was long ago, that we know better now. But The Look of Silence is proof that mass murder didn’t stop there and neither did the silence, among those involved or even indirectly culpable — essentially, anyone who wasn’t directly a victim.
The graphic descriptions of mass exterminations are horrifying to hear. When we see the pain in the faces of the victims’ families, we feel their pain, too. The streets are haunted, and Oppenheimer makes sure his imagery shows us this. The first bits of text on screen with background on the genocide overlays a nighttime video of military trucks approaching the camera, eerie and foreboding, yet the only sounds are of the crickets, not of the vehicles. Oppenheimer likens this subjective soundscape to a magical realism approach to documentary.
The Lodz Ghetto photos and The Look of Silence
Like looking through Ross’s photos of the Lodz Ghetto, there’s nothing ‘fun’ about watching The Look of Silence. But it’s important and moving and heroic. It’s a film that demands to be seen. If we don’t, we allow the record to remain unchanged, for the government’s propaganda and the poor Western reporting on the events to become the only record. Only by listening, by consenting to a broken silence, can we do anything to help the victims’ families grieve.
More films by Phoenix director Christian Petzold: Read our interview with Petzold on Transit and listen to the podcast on Transit.
Read more: Joshua Oppenheimer on the magic realist sound design of The Look of Silence >>
