Observational Documentaries

Observational Documentaries 

My documentary for FMP will be shot in an Observational style, in an attempt to represent the people and issues surrounding the area appropriately. Observational documentaries tend to simply observe, allowing viewers to reach whatever conclusions they may deduce.

Pure observational documentaries proceed under some bylaws: no music, no interviews, no scene arrangement of any kind, and no narration. However, in my documentary I intend for the homeless interviews to narrate over different temporal shots. I also plan on collaborating with a music producer in creating tribal music over dead shots that contribute no real significance towards any narrative, capturing the rhythm of city life. Adding spatial and temporal continuity to the film.

The results shall be footage that appears as though the viewer is witnessing first-hand experience, letting the situation speak for itself.

In researching Observational style I have come across different documentaries that use this form of storytelling effectively, representing social groups that do not have a voice of their own.

Dark Days (2000)

Dark Days is an observational documentary directed by Marc Singer. A British film maker that was shocked at the vast homeless community that lived in Manhattan. Singer began conversing with the homeless community where he heard rumours of a community that lived underground. It wasn't long before Singer found the abandoned section of New York Cities underground railway system; commonly know as 'Freedom Tunnel.
After befriending members of the community Singer spent several month living in freedom tunnel, before taking action by creating Dark Days.The Documentary was produced for a means to raise awareness, as well as funding accommodation for a voice-less community.
Creating an unflinching portrait of a hidden corner of society that is literally and figuratively beneath our notice.

War Photographer (2001)

War Photographer is a documentary by Christian Frei about a photographer James Nachtwey, who risked extreme conditions to capture the communities caught between conflict. As well as telling the story of an iconic man in the field of war photography, the film addresses the broader scope of ideas common to all those involved in war journalism, as well as the issues that they cover.
Nachtwey mounted a small video camera on-top of his still camera, resulting in footage that unfolds, as if you were looking through Nachtwey's own lens. Watching as he transforms scenes of violence, chaos, and noise into breathtaking still photographs is fascinating.There is no explanation of who the victims are, who the perpetrators are, or what the socio-political context is. The violence and suffering are presented simply: this thing happened to this person at this moment, and it was awful.

Nachtwey's photography, and this film, clarify the facts simply by observing it. Letting the situation speak for itself.
War Photographer has heavily influenced my production in the way information is relayed. I want to capture the hub of McDonalds through the view of the homeless, an insight that is rarely seen but offers a new perspective on the hash reality of living on the streets.

Children Underground (2001)

This hardcore observational film directed by Edet Belberg is shot over a year in the subways and squats of Bucharest, Romania. It intimately and unsentimentally captures the dire situation of life as a street kid, some as young as 8, as they starve, fight, sniff paint and live in their chaotic existence. Belberg was criticized for supposedly dispassionately documenting the children and not trying to save them. However, the crew behind Children Underground contracted tuberculosis, lice and scabies; which is a testament to the determination of the crew to represent the nightmare situation that these children live in.
Belberg replied to the accusations stating that “I realized early on that if we were to intervene, it would make a difference for the children only in the very short term, and meanwhile, because the crises were so relentless, the film would not get made.’’
The observational style in this case allows the film to make a potent social and political statement about the consequences of the regime in Romania.
Ultimately this documentary offers no happy endings, the harsh reality is not mitigated by any poetic frills, not even music but the cold hard truth. 


All three of these documentaries represent different communities and social groups that do not have a voice of their own. Each director has managed to capture their struggles accurately. These documentaries have aided my project greatly in the form of representing people and issues appropriately.