A discussion of this chapter’s protagonist, Shirley Clarke, and her 1970 radical Documentary definiens, delivered in an interview with Susan Rice, must acknowledge that 1970 not only marks the factual and symbolic conclusion of the turbulent 1960s, but also serves as a pivotal moment in the emergence of a slow but growing awareness of the significant gender imbalance and the dearth of active women filmmakers in the history of documentary filmmaking. In this context, Sara Gómez (Chap. 13 herein) and Clarke are, mutatis mutandis, both pioneers of a new generation of courageous women filmmakers who will, in the following decades, profoundly alter Documentary’s history. In 1970, Clarke was fifty-one years old and already a renowned New York City-based film artist. The chapter delves into a close hermeneutical reading of her divide between “real time” and “film time” and moves on to discuss her bold refutation arguments. She says: “I don’t believe there is any such thing as ‘documentary reality.’” This is followed by an exploration of the meaning of her even more daring assertion that “There is no difference between a traditional fiction film and a documentary. I have never made a documentary. There is no such trip.”