{"id":16258,"date":"2020-11-25T12:00:00","date_gmt":"2020-11-25T17:00:00","guid":{"rendered":"http:\/\/dev.cinemapolitica.org\/memories-of-genocide-in-burma-and-indonesia\/"},"modified":"2021-07-08T13:00:11","modified_gmt":"2021-07-08T17:00:11","slug":"memories-of-genocide-in-burma-and-indonesia","status":"publish","type":"post","link":"https:\/\/www.cinemapolitica.org\/fr\/memories-of-genocide-in-burma-and-indonesia\/","title":{"rendered":"Memories of Genocide in Burma and Indonesia"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\">Two of our On Demand films this month depict the stories of survivors who have overcome the most violent human rights atrocities in Burma and Indonesia. <a href=\"https:\/\/www.cinemapolitica.org\/film\/i-am-rohingya\" target=\"_blank\" rel=\"noopener\">I AM ROHINGYA<\/a>\u00a0and\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/the-look-of-silence\" target=\"_blank\" rel=\"noopener\">THE LOOK OF SILENCE<\/a>\u00a0condemn the persecution of communists and Muslim minorities, while bringing a reflective and humane quality to weighty narratives of state violence and injustice.<\/h3>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery alignwide columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img fetchpriority=\"high\" decoding=\"async\" width=\"650\" height=\"298\" src=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.png\" alt=\"Still from I AM ROHINGYA\" data-id=\"16240\" data-full-url=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.png\" data-link=\"https:\/\/dev.cinemapolitica.org\/memories-of-genocide-in-burma-and-indonesia\/download-4\/\" class=\"wp-image-16241\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-334x188.png 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-456x256.png 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.png 650w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/><figcaption class=\"blocks-gallery-item__caption\">Still from I AM ROHINGYA<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" width=\"650\" height=\"390\" src=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.jpeg\" alt=\"Still from I AM ROHINGYA\" data-id=\"16238\" data-full-url=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.jpeg\" data-link=\"https:\/\/dev.cinemapolitica.org\/memories-of-genocide-in-burma-and-indonesia\/download-3\/\" class=\"wp-image-16239\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-456x256.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download.jpeg 650w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/><figcaption class=\"blocks-gallery-item__caption\">Still from I AM ROHINGYA<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">I AM ROHINGYA<\/h2>\n\n\n\n<p><em>I AM ROHINGYA \/ Yusuf Zine \/ Canada \/ 2018 \/ 90 &lsquo; \/ English<\/em><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.cinemapolitica.org\/film\/i-am-rohingya\" target=\"_blank\" rel=\"noopener\">I AM ROHINGYA<\/a><\/strong>, by director Yusuf Zine, brings documentary theatre to the screen in an interpretation of migrants\u2019 journeys from Burma, to refugee camps in Bangladesh, to finally resettling in southwestern Ontario.<\/p>\n\n\n\n<p>Sunni Muslims form a minority in Burma and have endured a genocide against them in the Kachin, Rakhine, southern Chin and Shan States. Amid official claims that there is no religious discrimination in Burma, and the added complexity of poverty that has also contributed to mass displacement, around 1.3 million Muslims are known to have been imprisoned in Myanmar.<\/p>\n\n\n\n<p>Between 2015-2017, the&nbsp;<a href=\"https:\/\/www.unocha.org\/rohingya-refugee-crisis\" target=\"_blank\" rel=\"noopener\">forced displacement<\/a>&nbsp;of Muslims and other minorities from Burma to Bangladesh, Cambodia, Indonesia, Laos and Malaysia received much media attention. Yet, Western nations have largely remained quiet on the Rohingya genocide, with persistent calls for UN action coming instead from&nbsp;<a href=\"https:\/\/www.dhakatribune.com\/bangladesh\/rohingya-crisis\/2019\/10\/25\/rohingya-crisis-iran-to-mount-pressure-on-myanmar\" target=\"_blank\" rel=\"noopener\">Iran<\/a>\u2014bringing to light the selective silence of the alleged western beacons of democracy.&nbsp;<\/p>\n\n\n\n<p>All this has occurred under the icon of the liberal left, Burma\u2019s de-facto leader and Nobel Peace Prize winner Aung San Suu Kyi, who has been increasingly criticized for her lack of decisive action against the&nbsp;<a href=\"https:\/\/www.aljazeera.com\/news\/2020\/9\/8\/myanmar-troops-confirm-atrocities-against-rohingya-rights-group\" target=\"_blank\" rel=\"noopener\">massacres<\/a>&nbsp;by Burmese military and security forces.<\/p>\n\n\n\n<p>The 2018 Cinema Politica&nbsp;<a href=\"https:\/\/www.cinemapolitica.org\/awards\" target=\"_blank\" rel=\"noopener\">Audience Choice Award<\/a>&nbsp;winner, I AM ROHINGYA has&nbsp;<a href=\"https:\/\/www.cinemapolitica.org\/blog\/concordia\/screening-i-am-rohingya\" target=\"_blank\" rel=\"noopener\">previously screened<\/a>&nbsp;at Cinema Politica Concordia, where director Yusuf Zine spoke about the significance of working with children and youth in bringing their stories to life. Under his direction, I AM ROHINGYA follows 14 Rohingya refugees \u2013 untrained, first-time actors \u2013 as they recreate their stories of witnessing and surviving genocide. Channeling their experience and muscle memory, they use theatre as a means to transcend their traumas, and challenge the audience to live through them.<\/p>\n\n\n\n<p>As one of the young actors in Yusuf Zine\u2019s play describes, \u201cIt can change the future for a lot of people. It can change what they see in the future. They don\u2019t want to see blood, they want to see the sunset.\u201d<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background\" href=\"https:\/\/cinemapolitica.vhx.tv\/products\/i-am-rohingya\" style=\"border-radius:2px;background-color:#38a800\" target=\"_blank\" rel=\"noreferrer noopener\">VIEW ON DEMAND<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-fill\"><a class=\"wp-block-button__link has-white-color has-text-color has-background\" href=\"https:\/\/cinemapolitica.vhx.tv\/i-am-rohingya-a-genocide-in-four-acts\" style=\"border-radius:2px;background-color:#ff456e\" target=\"_blank\" rel=\"noreferrer noopener\">SUBSCRIBE TO STREAM (includes Q&amp;A with Yusuf Zine)<\/a><\/div>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-gallery alignwide columns-2 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img decoding=\"async\" width=\"650\" height=\"486\" src=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-1.jpeg\" alt=\"In The Look of Silence, Indonesian optician Adi Rukun, pictured here in a scene from the film with his mother, investigates the murder of his older brother in mass violence following a 1965 coup. Perpetrators and their relatives &quot;would taunt us for being their victims,&quot; he says.\" data-id=\"16242\" data-full-url=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-1.jpeg\" data-link=\"https:\/\/dev.cinemapolitica.org\/memories-of-genocide-in-burma-and-indonesia\/tlos_adi_mother\/\" class=\"wp-image-16243\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-1-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-1-456x256.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-1-650x392.jpeg 650w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/><figcaption class=\"blocks-gallery-item__caption\">In The Look of Silence, Indonesian optician Adi Rukun, pictured here in a scene from the film with his mother, investigates the murder of his older brother in mass violence following a 1965 coup. Perpetrators and their relatives \u00ab\u00a0would taunt us for being their victims,\u00a0\u00bb he says.<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"365\" src=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-2.jpeg\" alt=\"Still from THE LOOK OF SILENCE\" data-id=\"16244\" data-full-url=\"https:\/\/dev.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-2.jpeg\" data-link=\"https:\/\/dev.cinemapolitica.org\/memories-of-genocide-in-burma-and-indonesia\/download-2-2\/\" class=\"wp-image-16245\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-2-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-2-456x256.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2020\/11\/download-2.jpeg 650w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/><figcaption class=\"blocks-gallery-item__caption\">Still from THE LOOK OF SILENCE<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">THE LOOK OF SILENCE<\/h2>\n\n\n\n<p><em>THE LOOK OF SILENCE \/ Joshua Oppenheimer \/ United States &#8211; Indonesia \/ 2014 \/ 103 &lsquo; \/ Indonesian, English<\/em><\/p>\n\n\n\n<p>Joshua Oppenheimer\u2019s critically acclaimed&nbsp;<strong><a href=\"https:\/\/www.cinemapolitica.org\/film\/the-look-of-silence\" target=\"_blank\" rel=\"noopener\">THE LOOK OF SILENCE<\/a><\/strong>&nbsp;\u2014&nbsp;which follows up his 2012 film THE ACT OF KILLING&nbsp;\u2014&nbsp;continues the difficult and disquieting project of seeking justice for the survivors of the Indonesian genocide of 1965-66. At the centre of the documentary is optometrist Adi Rukun, who confronts the psychological toll the genocide has had on his family, provoking questions about how the denial of state violence could lead to a repetition of history.<\/p>\n\n\n\n<p>The anti-Communist purges that brought the Suharto dictatorship to power have claimed the lives of at least half a million, with estimates of up to a million people suffering brutal killings, rape and torture, and kidnappings. The Indonesian military (TNI) is also known to have&nbsp;<a href=\"https:\/\/www.hrw.org\/news\/2017\/08\/07\/indonesia-again-silences-1965-massacre-victims\">targeted<\/a>&nbsp;ethnic Chinese, trade unionists, teachers, activists and artists. But even today, efforts to accurately report the casualties and total death toll have been inconclusive.<\/p>\n\n\n\n<p>In Indonesia\u2019s pervasive climate of censorship, the TNI has long denied the characterization of its atrocities as genocide, calling it a defence against the Communist Party \u2013 which&nbsp;<a href=\"https:\/\/www.thejakartapost.com\/academia\/2019\/10\/02\/would-a-call-for-accountability-ever-be-heard.html\">formed<\/a>&nbsp;the political opposition to the Armed Forces in the 60s \u2013 avoiding accountability for decades.<\/p>\n\n\n\n<p>The impacts of the Indonesian genocide in \u201965-66 cannot be underestimated, with an impact that reaches far beyond the borders of Indonesia. As journalist Vincent Bevins documents in&nbsp;<a href=\"https:\/\/canadiandimension.com\/articles\/view\/the-jakarta-method-how-to-destabilize-and-control-the-third-world\"><em>The Jakarta Method<\/em><\/a>, the mass killings by TNI in turn influenced the US anti-Communist assassination and terror campaign across South America, known as Operation Condor. This covert operation claimed the lives of just under a million leftists or sympathizers, and imprisoned half a million.<\/p>\n\n\n\n<p>US interference notwithstanding, Canada itself armed the brutal Indonesian dictatorship between the 70s and 90s, following Suharto\u2019s rise to power in 1968. Back in 2000, policy analyst Asad Ismi had&nbsp;<a href=\"https:\/\/www.policyalternatives.ca\/publications\/monitor\/november-2000-arming-genocidal-force\">documented<\/a>&nbsp;Canada\u2019s extensive arms exports during this period.<\/p>\n\n\n\n<p>Through exquisite cinematography, Oppenheimer&rsquo;s THE LOOK OF SILENCE explores the heavy emotional burden that is carried by survivors who have to confront a reality of living alongside their torturers. Many who were involved in the paramilitary death squads lead ordinary lives as local politicians and teachers, while denying the atrocities of the genocide. Spellbinding and severe, this poetic film focuses on the resilience of humanity despite what seem to be insurmountable conditions.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background no-border-radius\" href=\"https:\/\/cinemapolitica.vhx.tv\/the-look-of-silence\" style=\"background-color:#ff456e\" target=\"_blank\" rel=\"noreferrer noopener\">SUBSCRIBE TO STREAM<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Denial, silence and memory bring together two of our On Demand films this month, depicting the stories of survivors who have overcome the most violent human rights atrocities in Burma and Indonesia.<\/p>\n","protected":false},"author":368,"featured_media":16134,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_oasis_is_in_workflow":0,"_oasis_original":0,"ep_exclude_from_search":false,"footnotes":""},"categories":[1604],"tags":[1605,1606,1607,1608,1609,1610,1611,1612,1613,1614,1615,1616,1617,1618,1619],"class_list":["post-16258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programmation","tag-bangladesh-fr","tag-burma-fr","tag-communist-party-fr","tag-i-am-rohingya-fr","tag-indonesia-fr","tag-indonesian-fr","tag-indonesian-genocide-fr","tag-joshua-oppenheimer-fr","tag-muslims-fr","tag-refugee-crisis-fr","tag-rohingya-fr","tag-rohingya-genocide-fr","tag-sunni-muslims-fr","tag-the-look-of-silence-fr","tag-yusuf-zine-fr"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - 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