Abstract
This article traces two interrelated strands of documentary film aesthetics in India that have steadily developed since the early 2000s. One concerns the presiding influence of personal narratives and subjectivity, manifesting in diverse thematic interrogations. The other relates to the increased tendencies of working with the cinematographic tropes and idioms of fictional storytelling. These directions, evolving over distinctive historical circumstances, have significantly revised the generic assumptions of the documentary. Two films feature centrally in this discussion, Payal Kapadia’s A Night of Knowing Nothing and Shaunak Sen’s All that Breathes. Both uniquely explore the personal and fictional registers of working with the genre. While Kapadia intimately thinks through the reigning political crises in India, Sen devises inventive means to visualize the graded, interrelated layers of ecological catastrophe in the world’s most polluted capital city. A critical review of these films seeks to understand the emerging narratorial, formal and technical logic informing the hybrid nature of contemporary documentaries and their intersecting issues.
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