Filmmaker Éric Baudelaire takes as his subjects those who work to dismantle institutional frameworks and assert their ownership over the right to define reality. Among his subjects are revolutionary filmmakers, activists, teenagers, secessionists, and terrorists. In his reworking of the documentary as an art form, Baudelaire puts the lives and ethics of these figures center stage. Furthermore, he broadens the ways in which film can be displayed. His practice is produced with a concentration on collective working, an experimental approach to filmmaking that involves his protagonists within his filmmaking process. Within his approach to exhibition-making, he draws from his archival research and conversations with his subjects, as well as contributions and productions by other practitioners, both artists, and filmmakers. His audience themselves are key to his exhibitions also, viewing their conversations and public responses to his work while in situ as a part of the necessary dialogue surrounding his work. For Baudelaire, it is fundamental that discussions are opened to those beyond the art world.