Joris Ivens, already the protagonist of three preceding chapters in this trilogy, earned his place as the subject of this chapter since, at the age of ninety, and despite suffering for many years from severe asthma that hindered significant sections of his lungs, he, along with his creative lifelong companion Marceline Loridan-Ivens, wrote, directed, and produced a radically idiosyncratic film, different from any other documentary film that Ivens or the couple have produced and directed in the course of the master’s six-decade career. That film is titled Une histoire de vent/1988 (A Tale of the Wind). It was filmed in 1987 in various locations across China, with a special focus on desolate sites in the Taklamakan Desert in northwest China. Building on two earlier-presented structures of signification (Chaps. 11 and 28 ), I here suggest that under certain circumstances, a documentary film such as Ivens’s Histoire can function as a sufficient definiens for the definiendum Documentary. In that light, this chapter treats Ivens’s epitaph Histoire as a test case for interpreting the definiendum Documentary through a novel model, third in that family of structures of meaning and titled the “Documentary-film=Documentary-definiens hypothesis,” henceforth abbreviated D-f=D-d.