Dutch filmmakers Peter Tetteroo and Raymond Feddema travel to North Korea with a KRO Television crew and shoot exactly what their official minders allow them to shoot: Pyongyang's empty boulevards, staged mass gymnastics, portraits of Kim Il-sung and Kim Jong-il on every wall, and guides who recite the same praise for the regime in almost identical phrasing wherever the camera stops. Rather than narrating around the restrictions, the film leaves them visible, letting the gap between what is shown and what is said become the actual subject. The result plays as a portrait of a country performing itself for visitors, built entirely from footage a closed state was willing to permit. It won the International Emmy for best documentary in 2001, recognition for turning heavy-handed control over the image into the film's own argument about the regime's need for image control in the first place.