Miss Kiet’s Children (2016), a documentary made in the observational tradition, transcends its form, which has been questioned by theorists and critics for several decades. It physically places the camera into a subordinate position and consciously lets its subjects visibly react to it. Miss Kiet’s Children establishes an empathetic rela- tionship between the viewer and its subjects, the traumatised children of migrant and refugee families, and thereby also openly aims for a political e ect.

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