While found documents have long been marshalled as evidence in documentary, several recent films have interrogated the found document’s evidentiary status and raised questions about the ethics of appropriation. This essay examines two films — Yael Hersonski’s A Film Unfinished (2010) and Jane Gillooly’s Suitcase of Love and Shame (2013) – in relation to the ethics of the documentary gaze. Baron suggests that the viewer must assess the different intents of the document’s original producer and of the filmmaker who appropriates it – and the relationship between the two – in order to decide whether the appropriation is ethical.