Every life tells a story. Film has proven to be a worthwhile medium in which individual lives can be told and thereby will be remembered. In recent years biographical documentaries telling significant life-stories, such as Amy (Asif Kapadia 2015), Kurt Cobain: Montage of Heck (Brett Morgen, 2015) and Senna (Asif Kapadia, 2010) have taken over our screens. While their narrative style often alludes to common compositions of the fictional biopic, their foundation on indexical sound and imagery makes them differ radically. In this thesis theoretical implications on how to approach and understand biographical documentary within the lager scope of biographical filmmaking are discussed. Subsequently the term biodoc is suggested. It implies a close relation to the biopic without compromising documentary film's autonomy compared to fiction film. Furthermore, this thesis sets out to move toward a theory of the biodoc. By putting together a catalog of key aspects and elements common for the biodoc and discussing them in close relation to contemporary examples of the genre, this thesis provides a first theorization of a diverse and growing phenomenon in contemporary film culture.