“Thirteen years ago, when I shot these images, I thought the film would begin like this…” This is the first line of narration in João Moreira Salles’ Santiago. A film not simply about Santiago, the filmmaker’s family’s butler, but about failure, about memory and about documentary filmmaking. In 1992, the filmmaker shot nine hours of footage, but aborted the project on the cutting room table. It is by looking at the outtakes of the original footage 13 years later that Salles deconstructs the myths of documentary filmmaking and makes a film that is as much about him as it is about Santiago.