This article analyzes Chick Strand’s work at the intersection of anthropology, ethnographic cinema, and experimental film, with the aim of exploring how her audiovisual approach challenges traditional forms of anthropological representation. Based on a review of the development of ethnographic cinema and Strand’s critiques of the discipline’s practices, I examine the short film Angel Blue Sweet Wings (1966) as an early expression of her search for new ways of approaching human experience. The analysis focuses on techniques such as the dancing camera, affective montage, and the use of the optical printer. I argue that these strategies shift anthropological knowledge away from a distant gaze toward a sensory, embodied, and affective experience. In this way, I propose understanding Strand’s cinema as an alternative and collaborative anthropological practice that challenges colonial hierarchies of representation and expands the possibilities of ethnography through cinematic experimentation.