Cameras serve as instruments (if not outright weapons) of social protest and retaliation in Sebastián Moreno's City of Photographers, a nonfiction account of the Chilean photographers who took to the streets to document demonstrations and military brutality during Pinochet's reign of terror in the 1980s. As Moreno's father was one of those brave guerrilla photojournalists, his film is not only a historical record but also a personal tribute to those who risked life and limb to expose the crimes against humanity perpetrated by the country's ruthless dictator. Interviews with the camera-wielding rebels in question intermingle with their stark black-and-white snapshots and television footage of the era's urban turmoil. Complementing the notion that photographs were agents of change is Moreno's representation of these pictures—via mothers wearing portraits of their murdered children on their lapels—as acts of remembrance and revitalization defiantly opposed to Pinochet's methodical process of murderous erasure. The documentary ably captures resistance to tyranny at its most courageous (and self-sacrificial). Equally impressively, however, is that the film manages to remain reverential while tackling both the confliction and guilt felt by some of its self-critical subjects, as well as the corrupting seductiveness of lethal conflict, the latter point via admissions that the addictive rush of facing and overcoming one's fear of death led some to question whether they were, in one candid photographer's words, "becoming some kind of blood creep with no values. Was I picturing pain for my own glory?"  Nick Schager