ed from the raw materials provided by the Friedmans which was woven into a narrative about a decade in this family's life. Though the home films used in the documentary show an incredible bond of warmth and understanding among the Friedman males, they also depict a family in which the mother becomes an isolated and somewhat alienated presence.
The home movies which are presented in several unique acts depict Arnold Friedman as a man who is comfortable in his role as a teacher and as a father. He is seen, says Mitchell (2003), as beloved by his sons and by his students. However, during a Thanksgiving family holiday in 1987, the police arrive at the Friedman home and find child pornography magazines. Arnold and his son Jesse are arrested and charged with the possession of child pornography and child molestation. If the films that build to this point constitute what Nichols (2001) would characterize as the first act of the documentary, the arrest and its immediate aftermath are the second act.
In this second act, Jarecki blends home videos and family photographs with frenzied footage of local newscasts. Also included are interviews with law enforcement officials. According to Mitchell (2003, p. 2):
Mr. Jareckià layers the story and sets things up early in the film to show that first impressions can't be trusted, that truth rests with each person telling the story. He raises questions about the guilt of Arnold and Jesse without insisting on their innocence.
The third act of the film involves interviews with other relatives and with the po
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