In this chapter I look into the first of two definitional endeavors presented in this volume by the Dutch Cinéaste du monde Joris Ivens (1898–1989). Recall that Ivens was already discussed twice in PHD, Vol. I (1895–1959). Within these pages I endeavor to demonstrate how, throughout Ivens’s 1963 article “CINEMA and TRUTH,” and down to its closing line, Ivens is determined to ride a manifesto-like tone of voice, unequivocally urging for a transformation—metaphysical by nature, I claim—of “cinéma vérité” toward a new documentarological mode of existence, which he prescribes as “CINEMA and TRUTH.” Throughout the chapter I engage with Heidegger’s conceptions developed in Being and Time (1927)—Dasein (Being-here), Ereignis (appropriation), and Mitzein (Being-with)—to explain and interpret the seemingly minor yet, in truth, revolutionary “and-ness” factor that Ivens places at the heart of the by-then classical proposition Cinéma Vérité, both re-connecting and re-separating “Cinema” and “Truth.”