<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body style="overflow-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;"><div><blockquote type="cite"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">However, given the extreme risks she is taking,
I find these ethical gray areas not only justified but also integral to what
makes the film so powerful. </span></blockquote><div><br></div><div>Isn’t it more accurate to say that she is making careless decisions regarding <i>other people’s risk? </i>My point was that the surveillance footage is in a grey area and her use of it felt justified. But hidden camera and lack of informed consent and exposing the ID of whistleblowers is not grey for me. </div><div><br></div><div>Funahashi-san just published a piece that takes your position. I disagree pretty strongly. But I have been deeply influenced by Brian Winston’s writings on documentary ethics, and the stances of Tsuchimoto and Ogawa. The latter used hidden camera once, in Forest of Oppression; but while watching rushes they came to really regret it. Ogawa and other members often, often talked about that. Otsu too, having shot films for both of those directors. </div><div><i><br></i></div><div>>Risk. There’s no question she is taking on risk. She includes just a glimpse of the horrifying blowback in the film itself. The other day she posted on social media that she feels she cannot safely live in her own country anymore, which is truly terrible. </div><div><br></div><div>I think it’s possible to sympathize with her struggles, admire her remarkable courage, and praise her accomplishments here—and also question her treatment of the very people who are supporting her. </div><div><br></div><div>There is a century of documentary filmmaking that has forged creative and uncompromising ways to treat difficult subjects without harming collaborators. Maybe she needs to watch more films.</div><br><blockquote type="cite"><div><div dir="ltr"><p class="MsoNormal" style="margin:0in 0in 8pt;line-height:115%;font-size:12pt;font-family:"Times New Roman",serif">One point I would add, though, is that the film seems to be
catering from the outset to a Western viewership. </p></div></div></blockquote><div><br></div><div>Excellent observation. I think you’re right. She was definitely aiming at a global audience from the get go. It’s a good thing. </div><div><br></div><div>I wish more Japanese documentary filmmakers were doing that. Almost no one is. But I think it’s hard for all sorts of reasons. </div><div><br></div><div>Markus</div><div><br></div><div><br></div><div><br></div><div><br></div></div></body></html>