With this in mind, each sequence stems from these responses. Wiseman chucks ‘direct cinema’ and other concepts of capturing truth out of his practice. As academics and others place him in these categorical conveniences, he highlights the unavoidable bias of all films. Personal decisions on a condensed, rearranged reality determine our understanding of Hospital’s demographics and general procedures. A manipulation torn of its negative connotations. Instead, this clear-sighted, authored journey through varying voices produces a subjective model.
One may discern the aforementioned elderly woman as strong, vulnerable or annoying, giving her two cents on state dependency. Or, an extended eruption of vomit spewed by the college student: a chorus of laughter, wincing and awkward silences. Perched on the edge of exploitation, a poignant coda evokes the rudderless period of young adulthood. Wiseman resolves unethical accusations with alternately funny and saddening junctures. They are chosen out of necessity.