Christopher Anderson built his reputation as a photojournalist, and one assignment still anchors how he talks about the work: boarding a boat carrying Haitian refugees across the Caribbean that sank before reaching its destination. He describes that experience directly to the camera, treating it less as a career highlight than as the moment that reset what he thought photography was for. The film then follows him away from conflict zones entirely, walking the streets of New York City with a camera, working the kind of unscripted, in-the-moment images that made his name at Magnum Photos. There's no reenactment here, just Anderson narrating his own history intercut with him actually shooting, so the viewer sees both the story behind the refugee-boat photographs and the instinct he still uses on an ordinary New York block. It's a short, focused profile rather than a survey of his full body of work, built around the contrast between the assignment that changed him and the daily practice that followed it.