This chapter is particularly relevant to anyone operating a camera or directing. It deals with an aspect of documentary making—point of view—that is hard to conceptualize and uncertain to control. Differing points of view—those of the characters and that of the film—are the mark of mature filmmaking minds.
Film is always in the present tense and makes the spectator infer cause and effect even as events are happening. Like music—which Ingmar Bergman considered film’s nearest relative—the screen grasps the spectator’s heart and mind with existential insistency.