Abstract
Ross McElwee is undoubtedly the filmmaker who has stubbornly attempted to circumscribe the impossible relationship between the fatal objectivity of the recording of the world and the inner feeling that is supposed to correspond to this grip. He also writes in Trouver sa voix, where he traces the genesis of the cinema of intimacy of which he never stops trying to perfect the formula: «There must then be a way through which the objectifying presence of the camera merges with the subjective perspective of the director that hangs it». This way is found through an almost continuous voice-over that allows to enter the director's thinking parallel to the images he shows, as McElwee himself is oddly multiplied in his last film, Photographic Memory. The picture becomes doubly a condition of the cinema, with the addition of an intimacy that it imagines both for time and for thought.
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