The document discusses the concepts of objectivity, performativity, and truth in documentary filmmaking. It contrasts the styles of Direct Cinema, which aims to let images speak for themselves without interference, and Cinema Verite, which sees the filmmaker as a catalyst prompting subjects. Two case studies are provided: films by Nick Broomfield who takes a performative, self-reflexive approach, and Michael Moore who some see as more manipulative in his essay-style documentaries. Key questions are raised around whether complete objectivity is possible and whether all documentaries are inherently political in their creative interpretation of reality.