‘Subject’ (2023) Review – A Captivating Odyssey Through The Ethics Of Real-Life Storytelling

Subject, a documentary expertly orchestrated by the directing duo of Jennifer Tiexiera and Camilla Hall, embarks on an intellectual journey, delicately peeling away the veils that conceal the intricate ethical puzzles within the realm of documentary filmmaking. Woven with captivating narratives and razor-sharp insights, this film becomes a guiding light, shining brilliantly on the complex choreography between filmmakers, the individuals subjected to their lenses, and the ever-watchful eyes of the audience. It transcends the conventional quest for nostalgic reunions; instead, it plunges deep into the abyss of moral and ethical conundrums that unfurl when real lives take center stage in the world of documentary craftsmanship.

Within this exploration, we are granted a voyeuristic glimpse into the lives of individuals who have emerged as pivotal figures in some of the most revered documentaries in the past few years, including The Staircase, Hoop Dreams, The Wolfpack, The Square, and Capturing the Friedmans. These aren’t just engrossing stories; they serve as portals to profound inquiries. Subject eschews the temptation of simplicity, offering a mosaic of complicated questions, each more challenging than the last.

One of the film’s most compelling figures is Margie Ratliff, a central character in The Staircase, who reflects on the documentary’s impact on her life. For Ratliff, the experience is akin to repeatedly opening a deeply personal wound. What began as a quest for justice for her father soon transformed into an unending saga of Netflix’s purchase, extended episodes, and even a new Max limited series, all ensuring that the most painful chapter of her life remains in the spotlight. The film delves into the unsettling notion of real people being compelled to relive their traumas for the sake of an actor’s performance, as in the case of Sophie Turner portraying Ratliff. It raises a poignant question: why must we subject real individuals to recount their anguish merely for the sake of a movie’s process?

The ethical dilemma of compensating documentary subjects also takes center stage. While some filmmakers argue against paying their subjects, fearing it may compromise authenticity, others contend that it is a moral obligation to remunerate individuals who invest their time and emotional energy in the creation of these films. Subject brings forth the example of Arthur Agee from Hoop Dreams, who received a life-changing sum of money after the documentary’s success, sparking a debate on fair compensation for documentary subjects. The film doesn’t shy away from discussing the issue of representation in documentary filmmaking, a pertinent concern in an age of increasing sensitivity toward diversity and inclusion. It raises the question of whether a white filmmaker can adequately tell the story of Black subjects, as demonstrated by the enduring legacy of Hoop Dreams. The ongoing dialogue on this matter adds a layer of complexity to an already intricate web of ethical concerns.

Another theme explored in Subject is the power dynamics between documentary subjects and the filmmakers who control their narratives. It’s a fascinating exploration of who holds the reins in shaping these narratives, and it calls attention to the rise of documentaries produced or controlled by their subjects, potentially blurring the lines between authentic storytelling and self-promotion. The film invites viewers to contemplate the psychological toll that participating in a documentary can take on the subjects. As they are often asked to revisit past and current traumas, Subject raises the issue of providing therapists or mental health support for these individuals. This resonates deeply in a world where we increasingly value the emotional well-being of those who share their stories.

In an era of streaming platforms and algorithm-driven content creation, Subject highlights the changing landscape of documentary filmmaking. While streaming platforms have opened doors to more funding and opportunities, they have also raised concerns about the impact of algorithms on content creation. This prompts us to reflect on the balance between accessibility and quality in documentary storytelling.

Subject is a masterful exploration of the ethics surrounding documentary filmmaking. In just 90 minutes, directors Tiexiera and Hall expertly dissect a multitude of complex issues. Their film seamlessly weaves historical context, social commentary, and personal narratives to create thought-provoking questions without offering easy answers. It serves as a vital reminder that in a world where the lines between truth and fiction are often blurred, the responsibility of documentary filmmakers to remain honest and accurate is paramount. Subject encourages us to scrutinize our love for the truth in documentary storytelling and to ponder the profound meaning of that truth.

Subject will debut in select theaters in New York and Los Angeles on November 3, 2023, courtesy of Greenwich Entertainment. The film will expand to additional markets in the following weeks. 

[youtube https://www.youtube.com/watch?v=DyMNFJN0Orc]