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Williams doesn’t use close-ups or other shots that are typically a privilege afforded only to fiction filmmakers. Characters are frequently observed from behind as they walk down the street, creating distance between them and the audience while simultaneously calling attention to the person holding the camera.Emphatically, then, is a documentary about its own making.On the one hand, this breaks the veneer of documentary distance between filmmaker and subject.It’s not a “fly-on-the-wall” scene because the actors likely gave permission to Williams to shoot.She was then charged with public indecency after the show that was originally made for My Free was posted on other sites. The incident greatly increased Sunderland's popularity, and she has continued to webcam and speak positively of it as a career.

The first was shot on 16mm, the second on a tiny Blackmagic Pocket, and the third on the high-definition RED Scarlet.

The switch from the Blackmagic to the RED is a breathtaking trip into the tunnels of an ant colony, using fluctuations of focus to disguise the journey.

The leap from 16mm to Blackmagic, on the other hand, takes place with the use of a stationary shot.

This is the sort of movie currently beloved by European documentary festivals, made by filmmakers who are transparently bored by the blunt distinction between narrative and documentary cinemas.

These projects are neither explicitly fictional nor nonfictional.