) recently wrote an essay on the very idea of story in nonfiction film, which I read after my second viewing ofshe argues that the premium the industry places on documentary films with a three-act story structure and climax directly relates to our wider political and economic reality. She writes, “The ascendance of story as documentary’s favored narrative form is not, in fact, natural, predestined, nor outside of history.
A “story,” Story points out, can “belong” to someone. It can be exchanged; it can confer value. From here a connection to property arises—and since the existence of property allows for commodification, Story points out, there’s something to be said about the dominant documentary form being storytelling. In other words, story as a form begets the commodification of—or extraction of value from—the community or subject that a film depicts.
Exploring the question of form in nonfiction filmmaking might feel esoteric to someone simply showing up to the theater to be informed or entertained. But these inquiries are essential to uncovering any level of truth, from any perspective. InAnthony takes on that work, investigating not only policing and the private weapons industry, but his own vocation as a filmmaker.
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