The early stages of the long and shared history of documentary and animation demonstrate the imitative abilities of the animation toolkit. The post-modern paradigm shift of the nineties reveals a new kind of documentary film that endeavours to show a new narrative: a fragmented horizon of truth of internal and external worlds. Traumatic experiences are often accompanied by hallucinations that cannot be portrayed in a live-action film. My thesis presents the tools through which animation is able to display these experiences.