In this paper, we explore the argumentative role of visual metaphor and visual antithesis in theso- fly-on-the-wall documentary. In this subtype of documentary, which emphatically renouncesvoice-over narration, the filmmakers guide their viewers into reaching certain conclusions by makingchoices regarding the editing as well as the cinematography. We analyse a number of scenes from two filmsby one major representative of the Direct Cinema or fly-on-the-wall documentary, Frederick Wiseman.