In 2010, Thomas Balmès released his documentary, Babies, which features four newborns from Opuwo, Namibia; Bayanchandmani, Mongolia; Tokyo, Japan; and San Francisco, United States. The basis of Balmès’ film is to share the first year of the babies’ lives, but the director had no set agenda with his film. Instead, Balmès wants audiences to tease out their own meanings, and he effectively allows for viewers to do so by combining elements of observational and poetic documentary modes. Additionally, Balmès uses ambiguity to encourage audiences to come to their own conclusions.
According to Bill Nichols, it is not uncommon for filmmakers to combine different modes because it allows them to “achieve a distinct result.” When asked why he did not show four births,
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He used a tripod and a HD, lowlight camera that would not interfere too much in the babies’ and their parents’ lives. In an interview, the director commented on the complications he had when filming in certain locations. For example, the crew had so much more freedom in Namibia and Mongolia because the areas were rural and open. Ponijao lived in a communal Himba tribe, and Bayarjargal lived on an isolated farm with his family. Both children spent most of their time outdoors, so it was easier for the film crew to spread out and give the children their space. In contrast, Hattie and Mari lived in the crowded cities of San Francisco and Tokyo, so the crews were confined to a small townhouse and an apartment, which was “more intrusive to the family” according to Balmès. The director also revealed that filming came to an end once the babies became “more conscious of their surroundings.” Initially, the babies paid little attention to the crew and the cameras, but once the babies grew older and more alert, they began to look at the cameras; therefore, Balmès decided to end the