“Currently Thomas” is a reflexive documentarian portrait. Whilst one can consider Thomas Dudkiewicz to be the main ‘character’ of the documentary, this project is not ‘simply’ a portrait of his person; it is rather a portrait of the film-making process he and director Ciska Meister engage in. Instead of taking the non-fiction form for granted as a filmic approach, the film actively questions and tests the boundaries of non-fiction commonalities, positioning itself on the line marking the narrative- and non-fiction-film divide. Through the way Thomas is made subject of the film, he becomes both a vessel for and a participant in the philosophical discussion about abstract concepts such as non-fiction, truth and reality.
    It is not uncommon for a director or writer to be visually and verbally present in the documentary they are creating, as is often done in the works of Werner Herzog or Louis Theroux. A question that is not regularly explored, however, is in how far the personal and/or professional relationship between maker and subject influence the film-making process. By dissecting the power-dynamics that are at play, addressing sensations such as awkwardness and comfort, and reflecting on the unspoken ‘goals’ of both parties, ‘Currently Thomas’ scrutinises the documentary film-mode. This reflexive approach to non-fiction circles around the larger question of whether documentary can legitimately make claims to truth (or claim to portray reality).
        Whilst Thomas is in a way utilized as a resource for an experimentation on the medium, he also engages in the discussion himself by emitting personal views. Through learning about Thomas’ own viewpoints on the film’s theme, the viewer gets to know (and maybe even believes that they understand) Thomas as a human being. This full circle subsequently answers to (and possibly contradicts, depending on the viewpoint) the film’s main question of whether and how audiovisual compilations can capture reality.