James Nachtwey spends his career walking into the places other people are fleeing: Kosovo, Indonesia, Rwanda, the West Bank. Director Christian Frei rigs a small camera directly onto Nachtwey's own camera, so the film shows the exact frame he is composing in the instant before he presses the shutter, often inches from grieving families or armed men. Between assignments, editors at magazines like Time and Stern debate what a photograph of a corpse is for, and whether these images change anything or just get turned quickly into wallpaper for the next news cycle. Nachtwey talks through his own reasoning in a flat, careful voice, describing photography as a way of being present at events that would otherwise happen unwitnessed, and admitting he still cannot fully explain why he keeps returning. The film follows him into a Jakarta riot and an Indonesian slum eviction, watching him work a scene without ever raising his voice or his camera above eye level. It is less a portrait of war than a portrait of the decision to keep looking at it.