Can a documentary ever be truly objective? | Little White Lies

First Person

Can a doc­u­men­tary ever be tru­ly objective?

09 Jun 2016

Words by David Jenkins

A person in jeans and boots sits on the deck of a boat, gazing out at the grey ocean.
A person in jeans and boots sits on the deck of a boat, gazing out at the grey ocean.
Fire at Sea direc­tor Gian­fran­co Rosi on film­ing a rur­al fam­i­ly in their home in the mid­dle of the migrant crisis.

There’s a remark­able sequence at the mid-point of Gian­fran­co Rosi’s star­tling doc­u­men­tary Fire at Sea, which picked up the pres­ti­gious Gold­en Bear at the Berlin Film Fes­ti­val this year. It shows a fam­i­ly eat­ing their sup­per, and it seems like a sim­ple case of leav­ing a cam­era to run and just observ­ing dai­ly rit­u­als. The truth is, this sequence was far more complex.

The film exam­ines how the migrant cri­sis has affect­ed the Ital­ian island out­post of Lampe­dusa, which sits almost equidis­tant between Libya and Sici­ly. As boats filled with the dead and dying float pass their shore, life car­ries on regard­less. Rosi focus­es his cam­era on one fam­i­ly, and in par­tic­u­lar a lov­able scamp named Samuele who wiles away his free time usu­al­ly engag­ing in some form of pet­ty destruc­tion. Here, the direc­tor talks us through one of the film’s stand­out sequences, where he films the fam­i­ly eat­ing pas­ta together.

When we arrived in Lampe­dusa, I spent a lot of time with the fam­i­ly, and I ate with them many times as well. I already had the cam­era with me, but the cir­cum­stance meant that I was not able to take it out and film things as they hap­pened. Even­tu­al­ly, there’s a moment where you feel that every­thing is right and the mood, the con­nec­tion is there. You say to your­self: Okay, today I film’.

You start ear­ly in the morn­ing. You start film­ing the break­fast and so the whole day you’re there in the house. They get used to you. They for­get that you’re in that room. They for­get what you’re doing. When I film, I know that the process cre­ates a slight­ly dif­fer­ent dynam­ic. The cam­era is there and peo­ple realise that. It would be unfair to say that nobody changed their behav­iour because a cam­era was present with them. Peo­ple do change when there is a cam­era, or any for­eign ele­ment. But the impor­tant thing for me is that they all retain their own identity.

Even though this is a doc­u­men­tary, there is a prim­i­tive form of act­ing that you cap­ture with the cam­era. It does hap­pen. And when it does, it’s like mag­ic. Peo­ple say all these things that they would nev­er say oth­er­wise. I think, in this sit­u­a­tion, you say the things you would oth­er­wise write down, as if some­one was not with you in this moment, talk­ing. Truth can only be found in the moment. Like now, maybe if there was anoth­er guy with me who asked me a dif­fer­ent thing, I would say dif­fer­ent things. Or the same thing but in a dif­fer­ent way.

When I’m film­ing peo­ple I nev­er tell peo­ple what to do. I nev­er do that. I nev­er direct. But, I have to know when I can film. This is very impor­tant. I organ­ise cer­tain things: When I have to leave; when I can go back; how much time can pass by in order to go back again, to sit with them at the same table. Anoth­er din­ner, anoth­er lunch, anoth­er moment… So it has to be a part of the filmmaker’s duty, it has to be part of your instinct. Some­one like Fred­er­ick Wise­man makes very obser­va­tion­al films, but in the edit­ing he’s extreme­ly manip­u­la­tive. It doesn’t mat­ter how we get the footage. The impor­tant thing is the choice you have to make: do you decide to tell one sto­ry, or the oth­er story?”

You can be part of my truth, but only because the dynam­ic is dif­fer­ent between you and me. It’s exact­ly the same when the cam­era is there. It changes things. It trans­forms things, but that’s why it’s inter­est­ing. I don’t believe in objec­tiv­i­ty. When­ev­er there’s a cam­era, there’s always a change. And I change when I’m behind a cam­era. These changes I expe­ri­ence cause me to trans­form the real­i­ty of oth­er peo­ple, and that is what I’m inter­est­ed in. It’s like the work of a psy­chol­o­gist – the psy­chol­o­gist doesn’t ask him­self if the per­son he has in front of him tells the truth. He finds the truth in what is being said.”

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Fire at Sea is in cin­e­mas 10 June.

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