At first glance, it might appear to be within the realm of Direct Cinema, but the camera in The Color of Pain subverts the notion of observation that claims to capture events "as they are," as opposed to embracing the ideal of observation. Direct Cinema is rooted in the belief that a strategically positioned camera can capture events without intervening in the events themselves. However, the camera in The Color of Pain does not approach its subjects by establishing relationships. Instead, it conceals the privileged position of the camera and dismantles the spatial perception of Direct Cinema that asserts objectivity, along with the cognitive activity that follows, to situate the act of observation on a different foundation. In other words, The Color of Pain contemplates a camera that breaks away from the conventions of observation, rather than oscillating between objective observation and subjective evaluation. The world that The Color of Pain arrives at is one entrenched in the realm of chronic illness. The observation in this film extends even to the pervasive reality accustomed to chronic environments that breed chronic ailments. To regain the energy required to return to the world of those illnesses, a culture of activity strives to forget the chronic illnesses imposed by contemporary labor, transcending that momentary escapism. To achieve this, The Color of Pain eradicates the customary practice of observation and revisits it to "see." Thus, through an unwavering record, The Color of Pain attempts to "see" this world of chronic illnesses.