In this chapter I delve into a text that defines one of cinema’s stormiest decades—the 1960s. Written by the French philosopher, ethnographer, sociologist, ecologist, and filmmaker Edgar Morin, currently 103 years old (1921–), his manifesto “Pour un Nouveau ‘Cinéma Vérité,’” published in France Observateur on January 14, 1960, coined for posterity a documentary master trope: “Cinéma Vérité.” Morin’s definition of Documentary as Cinéma Vérité was first pronounced at the “Festival of People” (Florence, 1959), and it is intimately associated with the subsequent production, screening, and overwhelming world reception of the film, co-directed with Jean Rouch, that would become, in the history of filmmaking and film viewing, the paradigmatic Cinéma Vérité film Chronique d’un été (1960). The chapter invokes the ties between Morin’s definition and Cinéma Vérité progenitor Dziga Vertov. Thereon, and after hermeneuticizing, from close range, a seventeen-line paragraph from the manifesto wherein Morin condenses the core conception of his novel philosophical and practical approach to documentariness: a revolutionary documentarological Weltanschauung whose contentious Geist would color the entire volume.