Summary
Lisa Leeman references the 1989 New Yorker article by Janet Malcolm, "The Journalist and the Murderer", to discuss the fine line of being observational filmmakers and compassionate human beings.
The article draws examples from documentaries such as Lalee's Kin, Hoop Dreams, and Balseros to showcase instances where filmmakers had to decide whether to interfere in their film participants' lives or not, and what kind of impact that decision would have.