Deltagende Modus. Participatory Mode. Cinéma vérité. Av og til omtalt som Interaktiv Modus. Her er filmskaperen en del av filmen. Han er gjerne med i selve filmen og hans meninger og handlinger påvirker filmens endelige budskap. Filmskaperen kan stille spørsmål, hente inn viteforklaringer o.l. - samt dele egne erfaringer og opptrer gjerne både foran og bak kamera. Et filmeksempel kan være Bowling for Columbine (Michael Moore, 2002).

 

Cinéma-vérité is a style of filmmaking, combining naturalistic techniques that originated in documentary filmmaking, with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics. The name is French and means, roughly, "cinema of truth".

As Bill Nichols points out, the reality effect of a new mode of documentary representation tends to fade away when "the conventional nature of this mode of representation becomes increasingly apparent". In other words, new modes initially appear to be true, unvarnished "reality" on the screen, but as time goes by that mode's conventions become more and more obvious. Such is certainly the case with cinéma-vérité whose conventions can now appear quite mannered and open for critique.