Among the many ways that racism is entrenched in film culture is a technical one: the lighting for movie cameras has always been calibrated for white skin, with other production tools reflecting the same bias throughout cinema history. Three filmmakers explore the literal, theoretical, and philosophical dimensions of that reality. In a series of thematically linked, provocative discussions and interrogations, Eléonore Yameogo from Burkina Faso, Belgian An van. Dienderen, and Rosine Mbakam from Cameroon chart the making of their own film, while exploring the cinematic construction of whiteness and how this relates to power, privilege, and the myth of objectivity.