Since the beginning of documentary cinema, films have shown the eternal search for truth. Exposing reality as it is to the world through cinema has become a goal for documentary filmmakers. For a time, filmmakers lost their way along the way and became promoters who manipulated audiences around the world into believing what they wanted. During the 1960s, two particular movements began to emerge in different parts of the world. Cinéma Direct in North America and Cinéma Vérité in France. These two movements brought back the idea of ​​revealing the truth through their films. New movements encourage filmmakers to adopt the position of observers. Cinéma Direct and Cinéma Vérité are often confused and classified as a single movement. This is no surprise since their premise is to capture the authenticity of life as it is lived, and to break the veneer between the audience and the subject. But in reality, Cinema Direct and Cinema Vérité are different and should not be classified as one since their practitioners adopt different approaches in the film making process, Cinema Direct adopts an objective approach, while Cinema Vérité adopts a reflective approach. The aesthetic and philosophy of Vérité and Direct Cinema films were not first thought of in the 1960s. The father of documentary Robert Flaherty foreshadowed key elements of Cinéma Vérité and Cinéma Direct. For example, the interest in studying real people in their real environment. In Nanook of the North (1922), Flaherty follows Nanook and his family in search of moths, to show the world Nanook's lifestyle and culture. Another example is that Flaherty viewed the filmmaking process as an art of observation and then selection. What concerns...... middle of paper ......edit Cinéma Vérité gives the impression that there is no space between the beginning, end or beginning of another shot , unlike Direct Cinema which reveals to us a sequence of events. The bottom line is that Cinema Direct and Cinema Vérité are often misplaced because of the similarities between their roots and their goal of revealing the truth through the lens. But despite their similarities, they are two different movements. This is reflected in the different approach in which they both achieve their goal. Direct Cinema takes an objective observational approach in which filmmakers attempt to influence the film as little as possible by simply observing and not participating. While Cinéma Vérité takes a reflexive approach in which filmmakers influence the film by participating in and provoking different situations and reactions to a subject..