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Preoccupied with accuracy, integrity and communication, and railing vainly against the trivialising commodification of the medium, he is an idealistic campaigning filmmaker intent upon moving his audience, prompting them to action. In this respect we might understand the film as a meditation upon cinema in which a certain mode of filmmaking is equated with reportage as a directly political form of communication that has the capacity to effect social change. Henderson moves from making conventionally impartial reports, like that with which the film opens, to more impassioned, personal, and narratively inconclusive reports.

The first is a tendency towards formal experimentation and a rejection of a conventional solution to the central problem of (cinematic) storytelling, that of imposing an artificial, reductive framework upon contingent, formless, fugitive reality – of making meaningless events meaningful. Incoherence and contingency is an experience of everyday reality but war is perhaps simply a limit case of such existential uncertainty. In different ways, Butterfly Kiss, 9 Songs, and A Cock and Bull Story are also ‘as random as war’, but the problem of storytelling or narrative adequacy is foregrounded here in a particularly literal way.

Of the two documentaries on Ingmar Bergman that he produced for Thames TV (the London-based division of ITV) in the late 1980s (Ingmar Bergman: Magic Lantern, 1988 and Ingmar Bergman: The Director, 1989) Winterbottom relates that ‘I really had a lot of freedom. 22 In this respect, Winterbottom’s initial professional experience provided him with a model for a flexible, independent mode of working (while Bergman similarly provided him with an example of a heterogeneous and prolific independent practice).

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