Docu Francais: Cinéma-Vérité as Truth Offer

Merci Patron!

In the end of 50s until middle of 60s, documentary film development underwent major changes. In its production, filmmaker started using lighter camera and lesser crew, and also refusing script concept and traditional structure. They are more spontan in recording image, and lack of narration by letting the object talks to themselves. This approach is known in so much term, like “candid” cinema, “Uncontrolled” cinema, up to Cinéma-Vérité (France). Half a century later, through the collaboration program between FFD and Institut Français d’Indonésie (IFI), this year Docu Francais is trying to presents films with the same style that invented by Jean Rouch which inspired by Dziga Vertov’s theory about Kino-Pravda and influences by Robert Flaherty’s films.

The films that presented i this program with new narration in each film through the unexpected layers is the reason behind why this kind of narrtion is important to be discussed. “L’Autre Cotee” (Isabelle Bourgeil, 2016) recorded presente irony in the construction of museum, meanwhile “Ronde-bosse” (Laurence Michel, 2014) showed on how French people is in seeing bald woman. Film “Conter Sa Vie” (Heloise Dariaz, 2015) recorded how myth tradition  is being reproduced by the migrants. In the other side, the bravery to provoke pent-up lament of Louis Vuitton’s laborers with witty narration depicted in “Merci Patron” (Francois Ruffin, 2017) is perfect expression in exploring Cinema-Verite’s style nowadays.

In the middle of an era where information scattered inside moving pictures, there is no need verification anymore. Docu Francais: French Cinema-Verite Today is trying to deconstructed reading about the presence of truth in documentary medium, eventhough in its development always be debated. Instead of putting the subject and context as it should be, through Cinema-Verita, filmmaker actively provocating and exploring certain ideas from the society, the subject actively put into the film, the filmmaker oftenly presents physically inside the film. For the filmmaker with this style, documentary is a construction and intervention process, and those process intentionally presented as guarantee of the truth from  filmmaker for the audiences.

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