When dividing the film screen into in-screen and off-screen, documentary directors have been reluctant to dispose the perpetrators in history, such as slaughterers, to in-screen for a long time. So they stay on off-screen of the film that the audience could imagine hearing the testimony of survivors on in-screen. However, the sudden change in the documentary’s trend occurred after 1985 when Claude Lanzmann released Shoah in which he called Nazi in front of his camera. The perpetrators have walked into the film as accomplice or eyewitness, and this caused a new wave of contemporary documentary films in which the memories of the perpetrators belonging to off-memory are transferred to in-screen. This type of documentary work has caused the conflict of ethics between a director’s identities as a documentary creator and as a citizen from the starting point. How should documentary directors face the other hostile in front of his camera? We would like to dewell on this difficult and inevitable question with seven films including Pinochet and His Three Generals, The Unforgiven, La flaca Alejandra, and Our Nazi.