In a way this a precursor to the Malick style of free-flowing abstract storytelling that focus more on poetic imagery, still cut together in a narrative way, but with longer scenes and far less dialogue.
It is interesting that this film is referred to as a documentary when it was cast and shot like a film with staged actions and camera angles. It is largely in the way it was shot and the length of the clips with no dialogue that created a feeling as if this were a documentary when clearly they didn’t have their two cameras set up and pointed at both subjects at exactly the right time to capture these moments. These moments were edited together to seem naturally occurring but they were performed in different takes.
That being said, there is very incredible filmmaking going on here in terms of the introduction of the boy and the filming of his grabbing the crocodile eggs. The relationship between the boy and the oil workers as well is quite nuanced and complex.
This film similar to the other movies of 1948 is part of a push towards greater realism in film, especially the notion of filming on real locations as opposed to studios to add authenticity. This is important as well for that Malick shift. Filmmakers are looking to take some of these previously war and post-war documentary techniques, i.e. sequences mostly comprised of actions without dialogue, handheld sequences, jump cuts in ways and apply them to narrative filmmaking, shooting on location with real set “dressing and props”, which sells the believability. This film is part of the push out of the studio and onto locations.