Almost from its release, some American critics and viewers heard echoes of the assassination of John F. Kennedy when watching Z — particularly in the film’s grainy, documentary‑like coverage of the murder and a sequence that visually recalls home‑movie fraying and sudden violence. A persistent urban legend formed: Costa‑Gavras had consciously modeled sequences on the Zapruder film. Costa‑Gavras, however, repeatedly rebutted this inference; he explained that the Zapruder home‑movie had not been widely circulated in Europe at the time and that his techniques derived from a desire to combine documentary urgency with fiction, not to mimic Dallas footage. The misconception persisted largely because audiences naturally map their own trauma onto similar cinematic gestures. Historians of cinema note the resemblance as an effect of shared documentary aesthetics of the 1960s rather than direct borrowing — a case where collective memory supplied meaning the director insists he did not intend.
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