In economic jargon, “documentary credit” refers to a mode of payment that involves a bank between buyer and seller in order to ensure the buyer’s reliability. In the context of politics, “documentary credit” describes a kind collateral security that is not only based on the on the mutual loss of trust in each other but on the same time also recreates such mistrust. In terms of a documentary film, the credit of the documented object becomes a shared risk between documentary and fiction, which can no longer be conveyed with absolute “security”. This is the subject of the film, who deals more specifically with the repercussions of the Israeli-Palestinian conflict. It starts out in a Palestinian camp, the very paradigm of this century, marked by extermination, exile, state-organised migration and the search for asylum. Since it focuses on the common risk of mistrust, the film delves into peripheral areas and intermediate zones in order to document only in part something whose consequences are unknown. ‘Documentary Credit’ is an essayist film, using cutting and sound track to clarify and contradict, that is constantly looking for its truth’s credit and sincerely wants to renew the shared risk of trust.