When does filming the "other" become trapping him/her in the frame? Or, to put it more succinctly, when does filming the "other" also become “framing the other," as the title of one of our retrospective films cleverly suggests? This question is particularly poignant for socially engaged documentary, which reigns in the WATCH DOCS repertoire, because that genre focuses on various "others," who are often at a disadvantage, sometimes wronged, many of whom are so far removed from the audience splayed comfortably in their armchairs. Although the level of documentaries’ social awareness varies and the risks are great, we need not become overly concerned. When selecting a festival repertoire, there are enough films that are true testimonials, subtle observations, and dogged investigations, allowing us to eschew films that revel in “exploitation of the beauty of misery” and “narcissism of pity” (to use great expressions of American critics). João Moreira Salles ("Santiago") undertakes a metafictional reflection on the relationship between the documentary filmmaker and the "other" through a critical analysis of his own film project focusing on an aged family servant. But documentary film – while special and of growing importance – is still just a drop in the bucket of images we consume in contemporary culture; there are so many other mediums. The Richard Robinson film essay presented in our retrospective deconstructs meanings behind seemingly obvious classic photojournalism from the 1930s, finding unexpected ties to grim American social policy. Another film, a Dutch documentary, also focuses on photography, brilliantly illustrating the effect of photographs taken by tourists have on modern identity and - most likely - the future of traditional African communities. In our review, cinema is represented by perhaps the best-known documentary analysis of the cinematic image of “otherness,” in "Celluloid Closet," a film about the history of sexual minorities on the big screen, based on the groundbreaking book by Vito Russo. Mass media can powerfully engineer our imaginations and the film "Beach Rampage" exposes how easily information becomes manipulation, by exposing a media humbug aimed at dark-skinned immigrants. After mass consumption of often thoughtless images of the "other" in film and television, a review of the way the subject is treated in art can be refreshing for its conscious and sometimes radical approach. Polish visual arts have particularly high achievements here, as evidenced in our program of Polish video art from the last decade, prepared by Katarzyna Boratyn. To gain a broader perspective, we also reach beyond a critique of the visual image. As, acting as a watchdog, we take a close look at all media, cinema, photography, we can also consider science and the very discipline that established respect for cultural diversity. We refer here to anthropology of course. Who were the luminaries of anthropology to their subjects? Do the images of “others” they imparted to us include equally intense reflections of the researchers themselves? (mn)