'In Person' delineates a new performative genre based on replay and self-awareness. The text argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. The work theorizes this figure's protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas.