The task of having to go through the process of capturing events on film without instigation to preserve objectivity is one that is an integral part of the entire process. At the same time, to be able to keep in mind that they are working with people yields the necessity of participating. The fact that Muniz was already involved and is in charge of the process gives the filmmakers the chance to encapsulate the interaction between the world-renowned Brazilian contemporary artist and his advocacy to help. As the director herself has pointed out, “There’s no limit to the responsibility you have as a documentary filmmaker to portray ordinary people. I think it’s fantastic that in the film, you see Vik arguing with his wife about whether to bring to London or not for the auction” (Steinberg, n.p.). This scene actually built the most tension and a thought-provoking one in fact as both sides have equally persuasive arguments.
The level of empathy that was instilled throughout the documentary set out the emotional flow that enabled to send its message across. Near the end of the film, the audience sees Muniz in a pensive mood contemplating how his life could easily have been in the same direction as the garbage-pickers. “Vik Muniz diligently cleared a trail for himself, which he studied, expanded, and further elaborated, until gleefully setting a distinctive course for his work” (Amaral, par.2). This may have been the case but his life has been one of amazement from the cause which led him to New York to his success as a modern artist. Halfway through the film, any viewer would realize that the story is not about him and how he helped the poor people of Brazil. No, right after Isis’ posing for the camera one immediately realizes that there is more than charity that fuels it.