In the documentary “A Move,” the filmmaker gives us as the viewers an in depth view of life in a part of the world with rules and regulations that are quite different than those in many other countries. The woman who is the focus of the film remains cheery in contrast to the depressing topic at hand about the suppression of women’s expression and patriarchy in the middle east. In the introduction to his book “Doing Documentary Work,” Robert Coles talks about the importance of getting involved in the field in which you are documenting. He asks “how consciously and deliberately does one go about the routines of a life?” (Coles 14). This documentary does an excellent job of showing the constant struggle between Ehale and those around her. In almost every scene, someone is commenting on the way she has chosen to express herself, and she responds casually since it is so regular to her. As the viewer, I felt like a family member at these events with her. The camera is usually positioned in a way that feels level with those we are looking at, creating the vibe of inclusion for the viewer.
This film offers a “fly on the wall” look at a situation that has become very normal for women in the middle east, but for many other parts of the world seems unfathomable. In the United States, if a man were to speak to a woman the way that men so casually speak to Ehale, he would feel severe social repercussions due to the feminist movements that have influenced the west. Coles would appreciate this film because it inserts the viewer into the situation and creates awareness artistically without exploiting the subjects. This reminds me of how Coles says that the field can be your own backyard (paraphrased). Though this is not my, or many other viewers, own backyard, it is someone’s regular life. The following image is a frame from the film that exemplifies the way that the filmmaker inserts the viewer into the story with camera angles.
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