Cameraperson

I watched "Cameraperson" not knowing much except that it was a documentary made by a cinematographer, and it quickly became one of those films I couldn’t stop thinking about days later. Kirsten Johnson, who’s shot footage for all kinds of documentaries, stitches together outtakes and behind-the-scenes moments from her years behind the lens. What makes it special is how personal it feels — like you’re leafing through someone’s visual diary, with all the emotion and ambiguity that comes with unpolished memories.

What stood out strongest to me was how the film meditates on the ethics of documentary filmmaking. There’s a palpable tension in some of the footage — from war zones to intimate family scenes — and Johnson repeatedly brings you into her shoes as she decides when to keep filming and when to step back. Her silent conversations with herself, embedded in quick camera shakes or lingering shots, stick with you long after.

Some moments do feel fragmented, especially if you’re used to documentaries that have a clear arc or narration. "Cameraperson" intentionally leaves a lot unsaid; instead of telling a story with a beginning, middle, and end, it lets the audience assemble meaning from glimpses that aren’t always obviously connected. That disjointedness can be off-putting at first, but it’s also what makes the film so sincere in its exploration of memory and perspective.

Visually, it’s a feast. Every sequence has its own unique look depending on where it was shot — Bosnia, Nigeria, Texas, and more. There’s an appreciation for light, movement, and human faces that only a seasoned cinematographer could bring, and it feels honest because there’s no gloss or polish added for effect. It’s raw, beautiful, and often a little heartbreaking.

You would enjoy this if you’re interested in film as an art form, you appreciate documentaries that raise complicated questions, or you’ve ever wondered what happens just outside the frame. It’s definitely for viewers who like to reflect and linger rather than those looking for a tight, conventional narrative.