Errol Morris posts another essay for the New York Times, this one the first of a two-part piece on memory, truth, and the role of staged re-enactments in documentary films:
Critics argue that the use of re-enactments suggest a callous disregard«MORE»
on the part of a filmmaker for what is true. I don’t agree. Some
re-enactments serve the truth, others subvert it. There is no mode of
expression, no technique of production that will instantly produce
truth or falsehood. There is no veritas lens – no lens that provides a “truthful” picture of events. There is cinema vérité and kino pravda but no cinematic truth.