<p>This article aims to explore anthropological films that mediate and promote communication with various actors in the course of film production and presentation. To accomplish that, this article uses my films, which focus on occupational musicians and children living on the streets of Ethiopia. The representation of others in anthropology is the result of encounters between researchers and their subjects; ethnographic films are products that capture the very moment of that interaction. Consequently, the film itself, in a fundamental sense, can be considered evidence of communication between researchers and their subjects. In this paper, I clarify the development of my own filmmaking style and my position in my films by referencing two of them that I made about occupational musicians, Lalibalocc and Azmari, as well as about children living on the streets of Gondar in Northern Ethiopia. Lalibalocc are groups of strolling singers who sing, beg, and give blessings in exchange for alms every morning in front of the door of people's residences. Their performances are characterized by rich interaction and communication with the audience. My film first attempted to describe in detail the interaction between a Lalibalocc couple visiting Gondar and the local people. However, the singers, as well as the people watching Lalibalocc performances, reacted as I followed the performers with my camera, unintentionally turning my film into a triangle of interaction featuring the singers, the audience, and myself. This experience made me think long and hard about reflexivity in the context of anthropological films. Azmari, meanwhile, are occupational singers who perform flexibly in various social settings using a one-string fiddle called the masenqo. In my film on Azmari children, we started communicating with each other using argot and Amharic. During filmmaking, I set up some conceptual keys to describe their daily lives. Those included the economic survival strategy of their musical activities and territorial disputes with adult Azmari. I started developing and exploring a style that foregrounded my presence, and I interacted more with the protagonists in my film. The film, called Room 11, Ethiopia Hotel, focused on the interaction between me and children living on the streets of Gondar, and further developed my method of filmmaking. Based on my case studies, this paper also explores the constructive dialogue between an anthropologist/filmmaker and the audience in anthropological films. The dominant discourse in the study of visual anthropology has paid insufficient attention to the viewer's role in the construction of meanings and evaluation of ethnographic inquiry by anthropologists/filmmakers. This paper examines how viewers from different cultural and screening contexts interpret and respond to my works on musicians and children in Ethiopia. I consider cases from feedback screenings given for the protagonists of my films at an academic film festival in Europe and at screening seminars among Ethiopian immigrants in North America, as well as from blog discussions. My films brought me into the arena of discussion on the representation of "the culture of Ethiopia" with Ethiopian immigrants in the United States. Ethiopians have established ethnic enclaves in various places around that country, particularly in the D.C. metropolitan area. My films have been screened in different venues in the United States, with the screenings mostly organized by immigrants from northern Ethiopia. In particular, the discussion (both in the screening room and in debates on blogs) was rather enthusiastic after my films were shown at a seminar in northwestern D.C., known as the home to a large number of Ethiopians. Arguments on how "Ethiopian culture should be presented" frequently crop up whenever my films are viewed, particularly when they are viewed by Ethiopian immigrants based in</p><p>(View PDF for the rest of the abstract.)</p>