So, I'll go ahead and use a fussy distinction, and call Jonathan Demme's film cinéma direct, rather than cinéma vérité, since it calls more attention to its subject than itself. It's grueling enough to deserve the three accent marks, however. Unlike the use of the shaky-cam in Blair Witch Project or Cloverfield, Demme and his cinematographer, Declan Quinn, always keep the camera in the objective, 3rd-person tense. They also, thankfully, keep it more transparent than Paul Greengrass's more navel-gazing camera eye. While moving room to room, the audience floats along, but when the wedding party guests are talking, the filmmakers fix the shot, remembering that modern cameras can re-focus on stuff in the background without having to move. Whatever you call it, Rachel Getting Married is realism at its squirm-inducing most direct.