The encounter with the point of view is a fundamental step in the construction of a documentary film. Undoubtedly, it starts from a political being in the world that will serve as a compass or guide to make the decisions that will define the creative process of the film. From here on, we can define a concrete methodology and a device that will undoubtedly help to develop the expressive, narrative, visual and sound resources. In this chapters, filmmakers including Aïcha Boro, Tana Gilbert, and Emilio Fonseca discuss how their ideological stance and identity shape their point of view and influence what they film. They explore their methodology, whether consistent across projects or unique to each film, and share examples of the narrative and expressive devices that frame their work.
