There is no doubt, technology has revolutionized the world. Among other reasons, because it offers us a potential of questioning assumptions, paradigms and limits. Documentaries have not escaped this tidal wave and their creators have jumped into deconstruction. The result: Documentary productions that have broken the molds. Why not?

A single post on documentaries was by no means enough to illustrate all the innovations that 21st century has brought to this sector. So, today we dare to address a new approach to the documentary genre.

And we say genre just to say something, because, as we already mentioned in our previous post on documentaries, many experts state that the differentiation between genres is but an anachronism.

Technology has blurred limits in all its aspects: structure, methodology, resources, style… even on a conceptual level. To set an example, we have chosen the following three Documentary productions that have broken with the history:

1. This first documentary is a journalistic piece of art, enough to captivate any audience with such an outworn topic as is the OJ Simpson case. Through its almost 8 hours’ duration, this documentary series scrapes the painting under which lie some of the more deeply ingrained problems within the American Society. It also succeeds in painting a rather aseptic portrait of the modern United States. But what we like the most about OJ Made in America is that it managed to sneak into the oscars despite being a TV format.


2. The act of killing categorically broke every mold possible. It picked up a true story, the Indonesian massacres, and gave it away with a red ribbon to those responsible for committing such killings’ so that they would do with it as they pleased. These people give us their particular and surreal vision of their lives through an imaginary and disturbed construct that is both a joke and a horror movie.

And when we finally seem to be empathising with the normalisation of murder of these two peculiar directors, the gift becomes a trojan horse destroying their self-assurance and cracking the legitimacy in which they believed for many years. They look at themselves in the mirror and the giggles come to an end. Only the shadow of doubt remains: hero or monster?


3. Exit through the gift shop is, like anything Banksy does: street art, satirical, a bit Dada and a mockery of the establishment. So much that it is considered by some as a mockumentary. The greatest thing about this piece is that it may possibly even be breaking with the defining feature by nature of documentaries: the non-fiction, but nobody can tell for sure.


There exist a possibility that Banksy, as an anonymous Orson Welles, may have taken the documentary genre, broken it into very small pieces and made a new work of art out of it. We love that possibility.

Because it reinforces the idea that there is a reward for being brave and confronting conventionality. And because it proves, once again, that this century and the innovations within our reach bring us closer to breaking the molds. But, above all, because it underpins our theory that this industry has yet a long way to go hand in hand with technology.

One of those pending steps, as we always say, is the way content rights are bought and sold. If you want to live with us the start of online distribution, register now in MediaBank and start uploading your content.

Join our revolution!