This article examines the relationship between the form and ideology of Kevin MacDonald’s documentaryLife in a Day(2011). I closely analyse a sequence to demonstrate how the film chooses and orders its audio-visual elements to suggest a worldview compatible with the doctrines and aesthetics of New Age and fascism (whose commonalities, following Peter Kratz, I posit and stress). Exemplary of the film as a whole, the sequence – on the one hand – arbitrarily and alternately emphasises and de-emphasises cultural differences between its numerous subjects to imply a harmonious unity in the diversity of human circumstances and experiences. On the other hand, it tactically privileges certain members of the ‘family of mankind' and perpetuates some of the most widespread contemporary political, religious and cultural prejudices, contradicting the film’s self-professed mandate of presenting a global vision of the world. The article further establishes a connection between the film’s lack of self-reflexivity and its ideology. I proceed to contrastLifeto the now canonicalMan With a Movie Camera(Dziga Vertov, 1929), and propose that the absence of self-reflexive elements in the former film and their presence inMancrucially contribute to the creation of the two films’ desired political meanings. [ABSTRACT FROM AUTHOR]