Today we are overwhelmed with various pseudo-documentary films that focus on violence for commercial purposes exclusively. These so-called documentaries have no aesthetic, kinaesthetic or ethical purpose except sensationalism. What intrigues about such films is precisely their structure, which remains more or less unchanged. There is always a comment that makes/tells/gives a story – even though it is mainly poor and utterly unimaginative, it is quite often the most powerful dramaturgic moment of the entire show. All Conditions for a Story explores how such scenes work if separated from the completed film, if given without a comment, and what impact they have on a regular viewer. How are they perceived, and what do these scenes now mean?