In his penetrating survey of Janis Cole and Holly Dale’s first two films, Davies unravels the filmmakers’ unique relationship with their subjects. Building on Thomas Waugh’s statement that the filmmakers show “unconditional identification” with their subjects [The Romance of Transgression in Canada], Davies adds — their emotional intimacy and political solidarity would arguably be impossible without a deep concern and affection for the people they film. The director/subject relationship moves in both directions he says, in exchange for subjects opening up about their lives, the filmmakers represent them in the most honest way possible.