The adage “the camera doesn’t lie” is false. In fact, when we watch films, we give ourselves over to the vision of a usually invisible person. But sometimes this viewpoint is made more directly obvious–it goes from the director/cinematographer to a character in the film. We call this point-of-view camera. It can be used for varying effects–most often to show a particular character’s mental state through what and how they see, what they focus on, and what they may fail to or be unable to see.
The supercut of POV camera by Leigh Singer below is a stylish montage of types of POV shots. Shots that express altered states of being from drugs or trauma, shots that build tension by withholding information until the character (and viewer) are shocked by it, shots that create kinetic action in chase sequences. 74 different films are cut in to build up the style and effects of these shots.
The camera may not lie, exactly, but it certainly fibs.