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Clear out junk files and repair common Windows errorsFree Scan →Scan for outdated or missing drivers - takes under a minuteDriver Scan →Shoot the People: Global Activism through Misan Harriman’s Lens is an Al Jazeera Witness documentary directed by Andy Mundy-Castle. It follows British Nigerian photographer and activist Misan Harriman, connecting his personal journey with protest photography and movements for equality, civil rights and social justice. The film is a documentary—not a photography book—and the sources cited here do not establish a book adaptation or disc edition.
What the documentary is about
The film places Harriman’s work behind the camera alongside the history and meaning of protest. The British Film Institute describes it as a story of Harriman becoming an activist and a reflection on protest history, including apartheid and Black Lives Matter. Rather than treating protest images as detached records, the documentary considers the photographer’s identity and purpose as part of what is being photographed.
Harriman told British Vogue that he wanted to tell a story “through the lens of protest” and “through the lens of me,” describing how his understanding of who he was meant to be came later in life. That personal strand helps distinguish the film from a survey devoted only to famous images or movements.
Why Harriman’s 2020 images matter to the story
Harriman’s photographs of Black Lives Matter protests in 2020 brought significant attention to his work. British Vogue connects that period with his September 2020 cover for the magazine and with the documentary’s interest in how his personal identity and sense of purpose developed. The film uses this rise in visibility as context for a broader account of his activism, not as proof that one photographer or image caused a movement’s outcomes.
#1 Best Overall
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What “Shoot the People” means
Harriman has described the title as a deliberate play on words. In a Democracy Now! interview, he framed the camera as a possible “shield” that can bear witness to violence and collective resistance. This is Harriman’s interpretation of the title, not a neutral definition of protest photography. The framing points to a tension at the heart of the film: photographing people in moments of danger can document what happened, while the photographer’s presence and perspective shape what viewers see.
The film’s historical and photographic context
Apartheid and protest history
The BFI’s account identifies apartheid as part of the documentary’s historical context. Its inclusion places contemporary activism in conversation with earlier struggles rather than presenting present-day protest as an isolated phenomenon. The film’s historical references should be understood as context for its portrait of Harriman, not as a claim that movements across different places and periods are interchangeable.
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Peter Magubane and Gordon Parks
Harriman has named South African photographer Peter Magubane and American photographer Gordon Parks as important influences. The British Vogue interview also discusses the film’s South Africa material and the Magubane archive. These references locate Harriman’s practice within a wider tradition of photographers whose work bears witness to political and social life; the sources do not establish that the film is a comprehensive history of either photographer.
What to expect—and what not to assume
- Expect: a personal portrait of Harriman linked to the history of protest and the role of photography in recording it.
- Expect: attention to Black Lives Matter, apartheid and the influence of earlier activist photographers.
- Do not assume: that the film demonstrates a particular movement achieved a specific political outcome. Its focus and Harriman’s perspective are not, by themselves, evidence of such an outcome.
- Do not assume: that the title refers to a book, or that a physical disc edition or book adaptation is available. The identified work is a documentary.
Sources and further context
Al Jazeera Witness identifies the film and describes its focus. The British Film Institute / Sight and Sound interview discusses the film’s historical framing and its filmmakers. Harriman’s personal account appears in British Vogue. His interpretation of the title and discussion of photographic influences appear in a Democracy Now! interview; its transcript is identified as a rush transcript that may not be final. For additional context on his career, see The Guardian’s profile.
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