When my partner Ivan and I started diving into the world of documentaries as viewers we noticed many styles and multiple ways to film, edit, and present a documentary. From the talking heads interview style as seen in 13TH (2016) by Ava DuVernay, which explores racial inequality in the American prisons; to personal point of view where the documentarian is the subject such as in Super Size Me (2004) by Morgan Spurlock or Tickled (2016) by David Farrier where he uncovers the strange world of competitive tickling; to investigative documentaries such like Into the Deep (2022) by Emma Sullivan which follows the murder of journalist Kim Wall on a submarine by eccentric inventor Peter Madsen – there are as many styles and techniques to present a documentary as there are stories waiting to be told. But one technique that stands out as a powerful tool to enhance your storytelling is animation.
Animation in Fire of Love
We first noticed the power of animation in Fire of Love (2022), a documentary about the lives and careers of volcanologists Katia and Maurice Krafft. Director Sarah Dosa interlaced animation amidst real footage, providing breathers between scenes to serve as a change of pace but to also highlight the story and visual narrative. Animation was used sparingly but effectively and it was an inspiration for our own work.
With Cats of Malta, we used a talking-heads style of storytelling. Anyone who’s familiar with this style knows that even with an excited person and a great subject, people talking to camera can get boring so we need to make use of extensive B-roll to cut away. Usually B-roll in documentary consists of videos, images, reenactments, stock, or archival footage demonstrating whatever the interview subject is talking about. But animation can make fantastic B-roll too.
So we used it twice in Cats of Malta, once to underscore a story of a cat named Naanu being rescued from a fight with a dog, and the other time to highlight amusing folklore of cats being swept up in tornados and wandering back home a few days later.
When we initially did test screenings of Cats of Malta in 2022 there was no animation. But some of the feedback we received was that the opening story of Naanu, though entertaining, was too long. We knew we had to cut it down but it was Ivan who suggested adding animation to further elevate the story and serve to hide any jump cuts.
Cats caught in tornados by animator Mehroz A. in Cats of Malta
Ivan was already fond of mixing animation with real footage as he used to do so regularly in his early films. Yet I was against it. I thought it was unnecessary and would cheapen the film. But I am happy to admit I was wrong.
After watching the completed version of Cats of Malta a few times now, I can see the animation works. And it works quite well. The animation highlights the story being told. Sure, the audience can imagine cats being taken away by the tornados and falling into the prickly pear trees on the island before strutting back home, but isn't it funny to also see it? Reviewers agree; so far we have had two film reviews mention how amusing the animation sequences are.
We would employ animation again in our second documentary I directed called No Woman is an Island about feminism in Malta. Much like Fire of Love, this time the animation would serve as chapter breaks and introduce the next theme or question our interviewees would discuss. Rather than using text on the screen to explain the next subject (which I’ve always associated with a dated documentary style), I used animation to convey what I wanted to say and the result is a much more engaging and visually interesting documentary.
Concept Art by animator Michelle Gómez for No Woman is an Island
Animation can also be a solution when a documentarian has limited options in how to present a story. In Tower (2016), a documentary about a 1966 Texas school shooting, director Keith Maitland only had 14 minutes of archival footage to draw upon. So he relied on animation to tell the story. He said the following about his intention:
“[I wanted] a visceral experience for audiences that would transport them right into that moment and force them to live through this horrific, long and hot experience that the characters of the story lived through.'' ~ Keith Maitland
Now I’ll be straight with you: animation is not the most cost effective technique of storytelling. A few minutes of animation takes a lot of time to do and it can take a significant bite out of your post production budget.
But with a bit of patience and casting the net for animators on freelance sites like Upwork and Fiverr, perhaps you can find an artist and a style that resonates with you at a price everyone is happy with. The collaboration may spark new story ideas and directions for your documentary like it did for me. And if you have limited prior experience with animation, such as I did, the whole experience can become an exciting learning curve and a wonderful asset to your final product.
The power of animation in documentary storytelling extends beyond merely filling visual gaps or adding a decorative touch. It is a technique where facts meet creativity and one which I know I’ll use again. I encourage fellow documentary filmmakers to do the same, and witness firsthand how animation can elevate your narrative to new visual and emotional heights.
Written by Sarah Jayne