I was going to do all of Vigo’s shorts, which would have added Zéro de conduit to this post, but I realized that the Vigo’s first two shorts, À propos de Nice (1930) and Taris, roi de l’eau (1931), were of a different genre than that film, which is a fictional story about life in a boarding school. These two films are documentary shorts, though as I’ll go into a little later, they stretch the boundaries of that genre a little bit. First, a bit of background. À propos de Nice is a city symphony, a subgenre of film that takes a look at the city it is documenting without utilizing a traditional narrative (usually), made famous by Man with a Movie Camera. In this case, Jean Vigo and his photographer, Boris Kaufman, filmed the sights of Nice, France, including beach scenes, sporting activities, a parade, and the working men and women who contrast with the rich leisure-seekers. Meanwhile, Taris, roi de l’eau is a shorter film, commissioned to celebrate the Olympic swimmer Jean Taris’s abilities and prowess. I noticed between these two films with a total runtime of 35 minutes six interesting techniques Vigo used to innovate the documentary form and put his anarchist worldview on film.