How does a filmmaker confront the terror of war without risking that viewers will turn away from the horrors onscreen? Harun Farocki’s short film Inextinguishable Fire homes in on the use of napalm during the Vietnam War, eschewing ground footage of soldiers and victims. Farocki instead frames his interrogation on the place where the weapon originated and the corporation responsible for manufacturing it: Dow Chemical. Through recreations, the film presents the vantage points of different workers at the plant, all of whom see their roles as being only a small part of a larger system beyond their control. Their perspectives ask us to consider the ways that participants in industry, or media and culture, shield themselves from hard truths, and how disconnection and ignorance can work to obscure and excuse personal accountability for appalling acts when their devastating consequences seem so far away.  ST