The term “experimental documentary” indicates a certain hesitation, if not doubt, about the concept of reality. How can reality itself be captured and represented? What are the right structures, concepts and patterns to exhibit reality? The term “documentary” refers to a “real” event, which is examined. So in one sense, “experimental documentary” questions our traditionally accepted patterns of reality, presented in logical, homogenous and narrative structures, which are able to capture and represent a reality. In another sense, the experimental documentary can be seen as an illusion, a suggestion and, in the best of cases, a diminution, directed by simplified intentions.
How can documentaries deal with events that, for example, were never officially documented either in writing or with audiovisual aids? Is this the limit of true representation?
Experimental narratives. South African filmmaker Simon Gush defies such a limitation in his work Invasion. His film re-enacts eyewitness statements in a simple and understated fashion: Actors sit on a chair in an empty, uncomfortable room, and read the accounts of those who wish to remain anonymous. An image of a landscape surrounding an artificial lake is shown on-screen. The landscape itself is insignificant, and difficult to locate. The texts speak of a South African military attack against a water resort in Lesotho, the small, land-locked kingdom surrounded by South Africa on all sides. The lake in question is the result of a contract, signed 12 years prior, between representatives of both South Africa and Lesotho – and voted on in dubious circumstances. The population of Lesotho did not want to lose their water resource to a South African industry complex. Their peaceful resistance was answered with brutal armed attacks. In comparison with other “world news” events, however, this was considered marginal.
“How can documentaries deal with events that were never officially documented?”
Insisting on telling this specific story is in …
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