The article brings forward the analytics of documentary representation strategies used by Chris Marker in his nonfiction films. The cinematographic work of a famous French director is explored in its connection with the overall process of evolution of nonfiction films. Based on the transformation of the very idea of veracity, Marker’s cinema is described and analyzed as a radical way to overcome the politics of documentary representation expressed in expository mode films. Transforming the structure of a documentary image through re-distribution of verbal and visual, Marker manages to create a specific form of cinematographic evidence. This new type of evidence is placed within spectator’s experience; spectator’s memory and affectivity are involved into the structure of evidence and the spectator becomes responsible for veracity or non-veracity of an image. The analysis of Marker’s film work involves the theoretical concepts of documentary representation modes by Bill Nichols and the idea of distribution of the sensible by Jacques Rancière. The films analyzed include Lettre de Sibérie, Sans Soleil and Le Tombeau d’Alexandre.