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I don’t get excited about documentary films very often, but “Writing With Fire” is one that I loved from start to finish. The filmmaking team of Rintu Thomas and Sushmit Ghosh have crafted an inspiring feature about the women journalists who run Khabar Lahariya, India’s only all-female news network. You likely haven’t heard of them before, but you’ll be inspired by their fearless work after watching this film. The subjects of the documentary are all incredible, strong women who have had enough. The film documents the newspaper’s evolution from print to the digital age, and their fearless reporting takes off globally with a growing YouTube counter. As chief editor Meera puts it, journalism is the essence of democracy and a vehicle for fighting for justice. She and her staff understand the huge responsibility that rests on their shoulders, and they bravely take on the corruption from the major political party, demand answers from the ineffective local police force, expose unsafe working condition of miners, bring the neglect of India’s citizens at the hands of authorities to the forefront of the conversation, relentlessly persue justice for women who are raped (unchecked sexual assault is a huge problem in their country), and refuse to be intimidated by those in power (who happen to be men). India has been declared one of the most dangerous places in the world to practice journalism, but these brave, strong, and intelligent ladies keep reporting in spite of the threats. Their fortitude is one we should all admire. “Writing With Fire” is an entertaining, engaging, well-made, and inspiring film about women making a positive difference not only in their own country, but around the globe.
I have nothing but respect for these women journalists. I give them ten stars each and collectively for their courage and determination. Having said that, for me this documentary about them falls a bit short of what it should be under the circumstances There are two reasons I say this. One is that we don’t seem to see any passion in the interviews or filming, the excitement or outrage that must have driven them in the interviews.I get it; on one level they are professionals and they want that reflected in this film. But there must have been moments when they caught fire both as women and as journalists and let it all hang out. Mustn’t there? They matter of factly state they are in danger more than once, but it doesn’t necessarily feel real without more details or anecdotes. Also, a lot of events and stories are brought up here and, except for one case where we learn that after they released the story a rapist was arrested, we don’t really get to hear any follow-up to how the stories were received and what resulted from them (well, except for the periodic updates in the cumulative number of YouTube ‘hits,’ that is). So my hat is off to these brave journalists and I appreciate the production team making this documentary about them. I just think there were some lost opportunities along the way to improve the story.
Traditionally, I alway think of India as a nation littered with newspaper journalism but I hadn't quite clocked that the vast majority of that was run by men higher up the caste system than the "untouchable" Dalit women who decided to set up their own publication in the northern province of Uttar Pradesh. The three who feature here are pretty fearless when it comes to investigating the violence against women that goes largely unreported - it's certainly not investigated by a police force indifferent at best to the plight of many whose attacks are seen as settling disputes about family "honour". This documentary is set against a backdrop of forthcoming elections in which the existing Government is widely expected to be returned to office, but their questions of those in authority and of those ordinary people on the street offers us quite an indictment of generational attitudes that haven't changed in centuries. The purpose here is to expose the situation many women experience as being akin to those of chattels or property; indeed the root of many of their challenges seems to stem from an historical situation in which they were considered the property of their fathers or their husbands - property to be used, abused, traded or neglected as they saw fit. Meera Devi is determined to shine some light on those abhorrences and at some risk to herself and her fellow journalists, attempts to tackle attitudes amongst many ill-educated contemporaries. It's also quite an interesting look at just how the fixed media days are declining and at how quickly they can galvanise opinion on social media and how potently those technologies can influence the decisions of politicians, police and the judiciary when it comes to equality and fair treatment under the selectively applied law. The intimate style of the documentary gets us into the thick of things and the interview techniques come across as plausible and at times quite heart-rending. She asks "What has God to do with politics" to one man. Now there is a question.
One night seven years ago, Rafael came home after work and discovered that people he did not know had come looking for him. He immediately fled, without looking back. From that moment on, his life changed, as if that night had never ended. One evening, around an improvised fire near a factory, he decides to confide his journey to a stranger. Rafael’s intimate account meets the collective testimony of an entire nation oppressed by poverty, police repression and institutional corruption.
After the impressive Gulistan, Land of Roses (VdR 2016), the Kurdish filmmaker Zaynê Akyol returns with these conversations with imprisoned members of the Islamic State, alternating their words with aerial views of the countryside. An unexpected look at a far-reaching current political issue and a film whose subject matter and rhythm create an impressive cinematic object.
A young Prince Asoka works to perfect his skills in battle and also deals with family conflict. During a struggle with one of his step-brothers, his mother urges Asoka to escape to stay alive. While away, Asoka meets Kaurwaki and falls in love, but must use his skills as a warrior to protect her. A dangerous and heartbreaking web of conspiracy follows, which leads Asoka to embrace a Buddhist path.
Three stories told simultaneously in ninety minutes of real time: a Republican Senator who's a presidential hopeful gives an hour-long interview to a skeptical television reporter, detailing a strategy for victory in Afghanistan; two special forces ambushed on an Afghani ridge await rescue as Taliban forces close in; a poli-sci professor at a California college invites a student to re-engage.
In 2019, Hong Kong was swept by demonstrations against the controversial extradition bill. At the Polytechnic University, a group of students also takes a stand for freedom and democracy. Negotiations with the police are chaotic and aggressive, conducted via megaphones and politically charged music played over loudspeakers. The colorful umbrellas which the young people use to protect themselves against the brutal police actions emphasize the group’s bravado, which borders on recklessness. What begins as an energetic battle against the establishment turns into a lopsided game of cat and mouse when the police decide to surround the building. Within its red brick walls, the university building becomes a prison. Over the nearly two weeks that follow, as fear and exhaustion grow among the hundreds of students, so does the uncertainty. Should they hang on inside, or leave the building to face the armed police?
The social contract: the rules we follow - and some don’t. Breaking Social uncovers the pattern of corruption and kleptocracy erasing the social tissue, followed by social uprisings. In Chile a new turn is taken, with young women in the lead.
The extraordinary story of the 1971 Women’s World Cup, which was held in Mexico City and witnessed by more than 100,000 fans. This landmark tournament was dismissed by FIFA and written out of sports history – until now, with dazzling archival footage and interviews with the former players.
By exploring the relationship between the watched and the watching, our film uncovers the trauma and hope engendered by the Chinese all-surveilling state and lends a voice to those that stand in resilient defiance of such blatant abuse of power.
The murder of Dutch filmmaker Theo van Gogh by an Islamic extremist in 2004, followed by the publishing of twelve satirical cartoons depicting the prophet Mohammed that was commissioned for the Danish newspaper Jyllands-Posten, provides the incendiary framework for Daniel Leconte's provocative documentary, It's Hard Being Loved by Jerks.
A feature-length documentary film adaptation of the 1994 non-fiction book of the same name, chronicling the history of Mondo cinema and the "death film".
In the week when Hindus celebrate the holy festival of Diwali, this documentary tells the story of one of their faith's most sacred symbols - the swastika. For many, the swastika has become a symbol synonymous with the Nazis and fascism. But this film reveals the fascinating and complex history of an emblem that is, in fact, a religious symbol, with a sacred past. For the almost one billion Hindus around the world, the swastika lies at the heart of religious practices and beliefs, as an emblem of benevolence, luck and good fortune.