Cinèma Vèritè and Direct Cinema are styles of documentary filmmaking, each having a different take on the presence of the filmmaker. They were developed in the early 1960s when film cameras were being made a lighter weight making it possible for filmmakers to do away with a large crew, studio set, tripod-mounted equipment and lighting. 
Cinèma Vèritè was invented by Jean Rouch and Edgar Morin who was inspired by Dziga Vertov’s theory about Kino-Pravda, but the term was coined by Georges Sadoul.
These styles of filmmaking are quite similar as they both strive to give the truth, but each take a slightly different approach. Cinèma Vèritè allows the filmmaker to be involved in the film and even speak or appear in the film – their presence is meant to be felt in this style of documentary filmmaking. Direct Cinema on the other hand is an objective style of documentary filmmaking, opposite to Cinèma Vèritè, where the filmmaker is invisible – almost like a fly on the wall.
Examples of films in these styles are Chronique d’un été (1961) (Cinèma Vèritè), On The Bowery (1956) (Direct Cinema), and Sofia’s Last Ambulance (2012) (Direct Cinema).