This short subject studies configurations of animation and live action in contemporary Swedish documentary film. While digitization has challenged the indexical image’s verifying function, animation has been elevated to the level of legitimate document. The epistemological boundaries of documentary film have consequently been expanded, and now include the inner worlds of social subjects. In Gömd (Hidden) (Heilborn and Aronowitsch, 2002), animation and live action are repeatedly juxtaposed in order to visualize a refugee child’s experienced Otherness. In Still Born (Sandzén, 2014), ultrasound footage is fused with digital film and animation to manifest the merging perspectives of a mourning mother and her aborted child.