The word reality is always used in an intimidating way. We must constantly be worried about “reality”, we must obey “reality” as a kind of constant enslavement without exceptions. We live crushed by the dominating opinion that there exist elements of reality that are binding and conditioning, and that they are so to the point that we cannot imagine even just a small form of action group action that is untouched by this coercion. And so then, does an eventual answer to the question “what is reality?” always have to verify that we cannot speak of “reality” unless we take into account some form of imposition? Is then the image that “reality” gives us never found, discovered, or met, but is simply the reflection of an injunction? Is it then necessary to accept, as though it were one of reason’s laws, that reality demands, in all cases, submission rather than invention?
To work with the expressive form of a documentary means rethinking the idea of describing reality and redefining its structure and the limits, and it also means doing so in a place where the imagery and weight of that reality seems most strong and binding, as in the South African townships. This is an act that might confirm the existence of impossibility, because this is the basic gesture for conquering reality: to state that the impossible exists.