This article discusses the common trap that some documentaries fall into, where they rely solely on access to a subject without providing enough detail, context, and pacing to create a compelling movie. It uses the example of a documentary about Francia Márquez, a politician in Colombia, to illustrate this point.
A trap that some documentaries fall into is thinking that superlative access to a subject—a rock star, a murderer, a politician—is enough to make it into a compelling, worthwhile movie. But, ironically, proximity only gets us so close.
So it is all the more disappointing that Botero’s access does not result in intimacy or understanding. These biographical details are spread out in cutaways to archival footage from Márquez’s early days as an activist, the timeline leaping with such abandon that every other sequence is reoriented by on-screen paragraphs.
The combination of top- and ground-level documentation gives the worst of both worlds. As soon as we’re prepared to watch how—in the grand tradition of recent election movies like—Márquez snatches victory from the jaws of defeat and snatches grassroots popularity from the doldrums of anonymity, her meteoric rise becomes a watered-down montage.
Documentary Access Subject Compelling Movie Francia Márquez Politician Colombia
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