This book is the first comprehensive study of documentary film on the Iraq War. In a series of close readings of some thirty American and European works, it analyzes how documentaries on the run-up, unfolding, and aftermath of the war have adopted different points of view and aesthetics in order to address their publics. From the political essay (Fahrenheit 9/11, Why We Fight) to embedding within the 'grunt point-of-view' (Gunner Palace, The War Tapes), from anti-war activism in the form of cin