Structured in fifty questions, this essay allows us to unravel crucial questions of documentary work and the various lines of study and research in which cinema is currently inscribed, from epistemological perspectives on the real, the true and the "verisimilitude or deceptive appearance" on how to define the documentary. Niney demonstrates here that the palette rests on the relationship between the filmer and the filmed, on the turn of the mise-en-scène and the editing, on the way that the film has to question the viewer, and to incite to see our common world, or an aggregate world.