The first is “The Attack,” directed by a Lebanese-American and set mostly in Tel Aviv and Nablus. It has reportedly been banned in at least 22 Arab countries and in the Middle East it can be seen only in Israel. The plot line is that a prominent Arab Israeli surgeon, living in Tel Aviv, discovers that his deceased wife was in fact the perpetrator of a suicide bombing.
Here is a New York Times review, but the movie admits of multiple interpretations more than most of its Western press lets on. Because of a few nude scenes, the director could not find a Palestinian woman to play the lead female role and so he chose a Moroccan.
The second is “The Act of Killing,” which consists of interviews with Indonesian gangsters and murderers from the 1965 pogroms. The perpetrators are given a chance to stage, reenact, and ponder their deeds, all captured on camera. This is the most remarkable Hobbesian “document” I have experienced and the ways in which it is compelling go so far beyond other movies that there is no relevant point of comparison and I mean that in a way which is flattering to this movie. Perhaps imagine the petty tyrant scenes of The Sopranos or Donnie Brasco multiplied fifty or one hundred times in intensity. Werner Herzog nailed it: “I have not seen a film as powerful, surreal, and frightening in at least a decade… it is unprecedented in the history of cinema.” It is also a compelling meditation on the human need for narrative and how we do not know what we have done until we start telling it, and even then the process of telling keeps us from the real truth.
Both movies are rich in social science and you should make every attempt to see them.