Text: Belle McIntyre

The popularity of documentary films has ballooned in recent times, no longer a niche category, there are now entire film festivals devoted to documentary films. They are promoted like fiction films and have the possibility of making substantial profits. I have a theory that the recent popularity of “reality” shows, which we know are not even remotely reality, has fed the same curiosity of more cerebral filmgoers. The landscape has changed for the audiences of documentary films. Formerly the purview of film nerds, film snobs, or special interest geeks. In other words, smart people who want to get smarter, or learn something new rather than simply being entertained.

Arthur Agee, participant of *Hoop Dreams,* as seen in *Subject*, directed by Jennifer Tiexiera and Camilla Hall. Photo credit: Zachary Shields. Courtesy of Lady & Bird Films.

Given the widening field of subjects which are being the focus of documentary films, it is only fitting that we should see a film which addresses the ethics as well as the harm or help for the participants. It gets complicated and personal when you analyze various examples, particularly ones which embed the filmmakers with willing subjects. In the true spirit of documentation, there would be no known outline or ending, and no visible bias of the filmmaker. But filmmakers are essentially storytellers using a visual medium which they want to appeal to as large an audience as possible. To that end, they will often use the tools of the trade; soundtracks, distinctive cinematography and, most importantly selective editing. The unforeseen consequences of this invasive exposure of the subject is something we rarely see except in the Q&A after a screening. The methods used to construct an effective narrative can garble or skew the accuracy factor, which a thoughtful director can minimize with sensitivity.

This film addresses that with numerous films of that type; The Staircase, about the trial of a stepfather accused of murdering his wife, involves the daughters of the murdered woman. It caused extreme pain to the siblings and resulted in delayed ability to leave it behind and move on. The Wolfpack tells the story of a family whose father locked them inside their house for years and tormented. When they finally were free of it the film helped them process the experience. Hoop Dreams, an uplifting success story of overcoming major adversaries, had many positive results for the participants, including cash, which was paid ofter the film had made its money back and parlayed it into other platforms. These three examples have three decidedly different aftertastes in the participants.

Mukunda Angulo, participant of *The Wolfpack*, as seen in *Subject*, directed by Jennifer Tiexiera and Camilla Hall. Photo credit: Zachary Shields. Courtesy of Lady & Bird Films.

The Ken Burns type of documentaries are less complicated ethically as they are mostly based on historical material, archival footage and talking heads and their purpose is mainly to inform. Although, in some instances, there is a goal which is to sway opinion. Films like An Inconvenient Truth (climate change), All the Beauty and the Bloodshed (opioid crisis/Sacker family), all ofMichael Moore’s films are filled with intention.

The subject is so vast that this film is only the tip of the iceberg. But it is thoroughly fascinating and I, as an avowed lover of documentaries, would love to see more on the subject.