Moi, un noir

I would look to Jean Rouch as a precedent for me, [particularly] his films like Moi, un noir, Jaguar, Petit a petit, where he understood that every time you film anybody you're creating a reality with that person.

The Act of Killing in turn shaped 2 films

Bullfight: The C and D Rolls

Keep going forward from The Act of Killing.

Open The Act of Killing's Cinema DNA →

Gorin himself sees Poto and Cabengo as a continuation of his earlier efforts at 'subjective cinema' (as with Godard, he rejects the very idea of 'objective cinema') combined with elements of what he calls 'filmed ethnography,' which he says started for him with Jean Rouch’s Moi, un noir (1958) and was further developed by Godard and others of his New Wave colleagues.