After violent protests broke out after irregularities in the 2009 Iranian election, journalist Maziar Bahari faced a choice: risk his life and career by videotaping totalitarian abuse, or drop his camera and run. He chose to release the footage. When I first heard the premise of Jon Stewart’s directorial debut, I couldn’t think of a more compelling personality to deftly negotiate its weighty subject material with a sense of scope and a light, often comedic, touch. Based on Then They Came for Me, Bahari’s memoir on his 118-day imprisonment in notorious Evin Prison, what elevates Rosewater isn’t strict adherence to documenting past events, but its ability to capture the essence of one man’s experience and expand it beyond its physical and temporal boundaries. Bahari himself has explained that though the film is not true to the letter of his experience in Evin, it captures a higher truth of imprisonment. This crafted, whittled-down truth drives Rosewater in way that only fiction can.