Diane Weyermann, chief content officer at Participant and former director of the Sundance Institute’s Documentary Film Program died Thursday of cancer in New York. She was 66.
For the last three decades, Weyermann played a seminal role in supporting the documentary community and shaping the nonfiction landscape during stints at Participant and the Sundance Institute. Oscar winning docus including Davis Guggenheim’s “An Inconvenient Truth” (2006), Laura Poitras’ “Citizenfour” (2014) and “American Factory” (2019) are among the many projects that Weyermann helped shepherd.
Weyermann joined Participant in 2005 – one year after Jeff Skoll founded the socially conscious production company. For 12 years, she was responsible for the production company’s documentary feature film and television slate. In 2017, Weyermann was promoted to president, and in 2019 named chief content officer of the L.A.-based media house, where she was responsible for Participant’s documentary, feature film and television slate.
During her tenure at Participant, Weyermann oversaw production of docus,...
For the last three decades, Weyermann played a seminal role in supporting the documentary community and shaping the nonfiction landscape during stints at Participant and the Sundance Institute. Oscar winning docus including Davis Guggenheim’s “An Inconvenient Truth” (2006), Laura Poitras’ “Citizenfour” (2014) and “American Factory” (2019) are among the many projects that Weyermann helped shepherd.
Weyermann joined Participant in 2005 – one year after Jeff Skoll founded the socially conscious production company. For 12 years, she was responsible for the production company’s documentary feature film and television slate. In 2017, Weyermann was promoted to president, and in 2019 named chief content officer of the L.A.-based media house, where she was responsible for Participant’s documentary, feature film and television slate.
During her tenure at Participant, Weyermann oversaw production of docus,...
- 10/15/2021
- by Addie Morfoot
- Variety Film + TV
Exclusive: Documentary+, the nascent streaming service from Xtr, is bolstering its rank with the hire of Sundance’s Charlie Sextro.
Sextro is working with the company as its editor-in-chief of the service, overseeing the curation of films for the nonfiction platform. He will also remain a Senior Programmer for the Sundance Film Festival.
The streaming platform features a film library that ranges from Academy Award-winners to festival darlings.
“There are few people on the planet as passionate about documentaries as Charlie Sextro,” said Bryn Mooser, co-founder of Documentary+ and CEO of Xtr. “His work the past decade with Sundance has shaped the modern documentary industry as we know it and it’s an honor for us to have him on our team. We can’t wait to share what we’re working on together.”
Sextro’s possesses over a decade of experience at the Sundance Film Festival, where he helped shape the festival,...
Sextro is working with the company as its editor-in-chief of the service, overseeing the curation of films for the nonfiction platform. He will also remain a Senior Programmer for the Sundance Film Festival.
The streaming platform features a film library that ranges from Academy Award-winners to festival darlings.
“There are few people on the planet as passionate about documentaries as Charlie Sextro,” said Bryn Mooser, co-founder of Documentary+ and CEO of Xtr. “His work the past decade with Sundance has shaped the modern documentary industry as we know it and it’s an honor for us to have him on our team. We can’t wait to share what we’re working on together.”
Sextro’s possesses over a decade of experience at the Sundance Film Festival, where he helped shape the festival,...
- 3/25/2021
- by Alexandra Del Rosario
- Deadline Film + TV
Documentary+, the non-fiction streamer from You Cannot Kill David Arquette studio Xtr, has unveiled its launch slate.
The service, which launches today, will include feature-length and short documentary films from the likes of Spike Jonze, Kathryn Bigelow, Terrence Malick, Brett Morgen, Andrea Nevins, Roger Ross Williams, Zana Briski, Davis Guggenheim, and Werner Herzog.
Titles include The Imposter, Life, Animated, Born into Brothels, Cartel Land, Dior and I and Being Evel. There are political films such as Cory Booker film Street Fight, Elian Gonzalez story Elian and Lee Atwater’s Boogie Man as well as music documentaries including Seattle grunge doc Hype!, Colin Hanks’ Tower Records doc All Things Must Pass and The Other F Word as well as sports doc One Man and His Shoes about Michael Jordan.
It will also feature the work of up-and-coming filmmakers from the likes of Lana Wilson (Miss Americana), Ramona S. Diaz (A Thousand Cuts...
The service, which launches today, will include feature-length and short documentary films from the likes of Spike Jonze, Kathryn Bigelow, Terrence Malick, Brett Morgen, Andrea Nevins, Roger Ross Williams, Zana Briski, Davis Guggenheim, and Werner Herzog.
Titles include The Imposter, Life, Animated, Born into Brothels, Cartel Land, Dior and I and Being Evel. There are political films such as Cory Booker film Street Fight, Elian Gonzalez story Elian and Lee Atwater’s Boogie Man as well as music documentaries including Seattle grunge doc Hype!, Colin Hanks’ Tower Records doc All Things Must Pass and The Other F Word as well as sports doc One Man and His Shoes about Michael Jordan.
It will also feature the work of up-and-coming filmmakers from the likes of Lana Wilson (Miss Americana), Ramona S. Diaz (A Thousand Cuts...
- 1/28/2021
- by Peter White
- Deadline Film + TV
Love Fraud promoted to Day One screening.
In a programming addition, Sundance Film Festival 2020 has slotted in the world premiere of Jeff Orlowski’s documentary The Social Dilemma, and added Born Into Brothels and High Art to its From The Collection strand.
The Social Dilemma explores how tech giants like Google, Twitter, Facebook, Instagram, and YouTube are “reprogramming civilisation”.
Sundance brass have also promote previously announced Special Event Love Fraud to a Day One screening at the festival, set to run in Park City, Utah, from January 23–February 2, 2020.
Focus Features/Universal Pictures will present a new Dcp of Lisa Cholodenko...
In a programming addition, Sundance Film Festival 2020 has slotted in the world premiere of Jeff Orlowski’s documentary The Social Dilemma, and added Born Into Brothels and High Art to its From The Collection strand.
The Social Dilemma explores how tech giants like Google, Twitter, Facebook, Instagram, and YouTube are “reprogramming civilisation”.
Sundance brass have also promote previously announced Special Event Love Fraud to a Day One screening at the festival, set to run in Park City, Utah, from January 23–February 2, 2020.
Focus Features/Universal Pictures will present a new Dcp of Lisa Cholodenko...
- 12/18/2019
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
A new documentary world premiere — the latest from Jeff Orlowski, dealing with the social controls and neuroprogramming aspects of technology platforms and social networks — and two restored works from the Sundance Collection were announced today. Orlowski’s film, The Social Dilemma, will screen next month in Park City as will two distinguished works that are favorites here at the magazine: Lisa Cholodenko’s High Art and Zana Briski and Ross Kaufman’s Born into Brothels. From the press release: Archival screenings are made possible by the Sundance Institute Collection at UCLA, and give audiences the opportunity to discover and rediscover the […]...
- 12/18/2019
- by Scott Macaulay
- Filmmaker Magazine - Blog
A new documentary world premiere — the latest from Jeff Orlowski, dealing with the social controls and neuroprogramming aspects of technology platforms and social networks — and two restored works from the Sundance Collection were announced today. Orlowski’s film, The Social Dilemma, will screen next month in Park City as will two distinguished works that are favorites here at the magazine: Lisa Cholodenko’s High Art and Zana Briski and Ross Kaufman’s Born into Brothels. From the press release: Archival screenings are made possible by the Sundance Institute Collection at UCLA, and give audiences the opportunity to discover and rediscover the […]...
- 12/18/2019
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Women may be the gatekeepers of the documentary arm of the entertainment industry, but this year marks the first time they have helmed the majority of awards season’s high-profile documentaries.
The filmmakers include Irene Taylor Brodsky (“Moonlight Sonata: Deafness in Three Movements”), Petra Costa (“The Edge of Democracy”), Lauren Greenfield (“The Kingmaker”), Barbara Kopple (“Desert One”), Rachel Lears (“Knock Down the House”), Nancy Schwartzman (“Roll Red Roll”), Nanfu Wang and Lynn Zhang (“One Child Nation”).
In addition, there are also documentary frontrunners co-directed by women, including “Advocate” (Rachel Leah Jones), “After Parkland” (Emily Taguchi), “American Factory” (Julia Reichert), “For Sama” (Waad Al-Khateab), “The Great Hack” (Jehane Noujaim) and “Honeyland” (Tamara Kotevska).
In late October, when the Intl. Documentary Assn. announced the nominees for the 35th annual Ida awards, six of the 10 best doc nods and all of the films nominated in the inaugural director category were directed or co-directed by women.
The filmmakers include Irene Taylor Brodsky (“Moonlight Sonata: Deafness in Three Movements”), Petra Costa (“The Edge of Democracy”), Lauren Greenfield (“The Kingmaker”), Barbara Kopple (“Desert One”), Rachel Lears (“Knock Down the House”), Nancy Schwartzman (“Roll Red Roll”), Nanfu Wang and Lynn Zhang (“One Child Nation”).
In addition, there are also documentary frontrunners co-directed by women, including “Advocate” (Rachel Leah Jones), “After Parkland” (Emily Taguchi), “American Factory” (Julia Reichert), “For Sama” (Waad Al-Khateab), “The Great Hack” (Jehane Noujaim) and “Honeyland” (Tamara Kotevska).
In late October, when the Intl. Documentary Assn. announced the nominees for the 35th annual Ida awards, six of the 10 best doc nods and all of the films nominated in the inaugural director category were directed or co-directed by women.
- 11/5/2019
- by Addie Morfoot
- Variety Film + TV
Women directors and producers are consistent winners and well-represented as nominees when it comes to documentaries in awards season. Barbara Kopple is a two-time Oscar-winning documentary director; Freida Lee Mock is an Oscar winner and was the Academy’s first documentary branch governor; Laura Poitras (“Citizenfour”) and Zana Briski (“Born Into Brothels”) are the two women who’ve taken home the gold statuette as directors most recently. It’s a field in which women have made their mark in cinematography and editing, too, and are not outliers.
“Women have always been fiercely part of the documentary filmmaking movement,” says Diane Weyermann, Participant Media’s president of documentary film and TV. The barriers to entry are not as high when compared to scripted/narrative features, especially when it comes to financing. Production costs are less and crews are traditionally a fraction of the size. There’s also the longstanding tradition of...
“Women have always been fiercely part of the documentary filmmaking movement,” says Diane Weyermann, Participant Media’s president of documentary film and TV. The barriers to entry are not as high when compared to scripted/narrative features, especially when it comes to financing. Production costs are less and crews are traditionally a fraction of the size. There’s also the longstanding tradition of...
- 11/9/2018
- by Kathy A. McDonald
- Variety Film + TV
Actors Emmy Rossum and Michael Pena joined Film Independent president Josh Welsh on Saturday to announce the winners of the 2015 Spirit Awards Grants, which honors emerging filmmakers with $25,000 in unrestricted funds.
The grants were handed out at the organization’s annual Spirit Awards nominees brunch, held at West Hollywood’s Boa Steakhouse, and saw Chris Ohlson, Dan Krauss and Rania Attich and Daniel Garcia take top spots.
“At Film Independent our mission is to support independent filmmakers all year long, helping them to get their films made and to build the audience for their work,” Welsh said.
“One of the...
The grants were handed out at the organization’s annual Spirit Awards nominees brunch, held at West Hollywood’s Boa Steakhouse, and saw Chris Ohlson, Dan Krauss and Rania Attich and Daniel Garcia take top spots.
“At Film Independent our mission is to support independent filmmakers all year long, helping them to get their films made and to build the audience for their work,” Welsh said.
“One of the...
- 1/10/2015
- by Matt Donnelly
- The Wrap
By Anjelica Oswald
Managing Editor
This year’s Oscar race could make history with two possible best picture nominees directed by women — Ava DuVernay’s Selma and Angelina Jolie’s Unbroken. If both women are nominated for best director, that would also be a historical moment. But though these accomplishments in the narrative field are possible, more women directors are breaking into the documentary categories. Four of the 15 shortlisted documentaries feature women at the helm: Jennifer Grausman (co-directed with Sam Cullman and Mark Becker) with Art and Craft, Tia Lessin (co-directed with Carl Deal) with Citizen Koch, Laura Poitras with Citizenfour and Rory Kennedy with Last Days in Vietnam. Additionally, three of the eight shortlisted documentary shorts feature female directors: Ellen Goosenberg Kent with Crisis Hotline: Veterans Press 1, Aneta Kopacz with Joanna and Lucy Walker with The Lion’s Mouth Opens. More often than not, women directors tend to...
Managing Editor
This year’s Oscar race could make history with two possible best picture nominees directed by women — Ava DuVernay’s Selma and Angelina Jolie’s Unbroken. If both women are nominated for best director, that would also be a historical moment. But though these accomplishments in the narrative field are possible, more women directors are breaking into the documentary categories. Four of the 15 shortlisted documentaries feature women at the helm: Jennifer Grausman (co-directed with Sam Cullman and Mark Becker) with Art and Craft, Tia Lessin (co-directed with Carl Deal) with Citizen Koch, Laura Poitras with Citizenfour and Rory Kennedy with Last Days in Vietnam. Additionally, three of the eight shortlisted documentary shorts feature female directors: Ellen Goosenberg Kent with Crisis Hotline: Veterans Press 1, Aneta Kopacz with Joanna and Lucy Walker with The Lion’s Mouth Opens. More often than not, women directors tend to...
- 12/16/2014
- by Anjelica Oswald
- Scott Feinberg
Exclusive: Andrew Herwitz and his team at The Film Sales Company head to Sundance this week with four films confirmed on the sales roster.
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune who flock...
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune who flock...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Exclusive: Andrew Herwitz and his team at The Film Sales Company head to Sundance this week with four films confirmed on the sales roster.
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team (pictured) after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune who flock...
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team (pictured) after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune who flock...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Exclusive: Andrew Herwitz and his team at The Film Sales Company head to Park City this week with four films confirmed on the sales roster.
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team (pictured) after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune...
Road trip comedy Land Ho! from Aaron Katz and Martha Stephens follows a pair of retirees as they bid to reclaim their youth on a trip to Iceland.
The film marks the first production from Gamechanger Films, whose head Mynette Louie produces alongside Sara Murphy and Christina Jennings. David Gordon Green is the executive producer and The Film Sales Company represents worldwide rights.
Ross Kauffman returns to Sundance with E-Team (pictured) after winning the 2005 Oscar for Born Into Brothels, the film he co-directed with Zana Briski.
Kauffman co-directed E-Team with Kate Chevigny and the film tracks a crack unit of human rights investigators. Herwitz represents North American rights and Annie Roney of ro*co films handles international sales.
Jesse Moss’s The Overnighters follows hordes of unemployed men in search of fortune...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Sundance Institute has announced the members of the competition juries for the Sundance Film Festival, which runs from Thursday through Jan. 29. The dramatic competition jury includes Terrence Howard, the star of last year's festival hit Hustle & Flow, filmmakers Miguel Arteta (The Good Girl), Alan Rudolph (The Moderns) and Audrey Wells (Under the Tuscan Sun), and cinematographer Nancy Schreiber (November). On the documentary competition jury are editor Joe Bini (Grizzly Man) and filmmakers Zana Briski (Born Into Brothels), Andrew Jarecki (Capturing the Friedmans), Alexander Payne (Sideways) and Heather Rae (Trudell).
- 1/17/2006
- The Hollywood Reporter - Movie News
The DGA named the nominees Wednesday for its documentary filmmaker award, a field that includes the most profitable docu ever, Fahrenheit 9/11. The nominees were Byambasuren Davaa and Luigi Falorni for The Story of the Weeping Camel; Ross Kauffman and Zana Briski for Born Into Brothels; Ross McElwee for Bright Leaves; Michael Moore for Fahrenheit 9/11; and Jehane Noujaim for Control Room. All but Noujaim are first-time nominees for this award. It was Noujaim's second nomination; she won the award in 2001 for Startup.com. The winner will be announced Jan. 29 at the 57th annual DGA Awards dinner at the Beverly Hilton in Los Angeles.
- 1/20/2005
- The Hollywood Reporter - Movie News
NEW YORK -- Indie banner ThinkFilm has acquired North American rights to Born Into Brothels, the feature by Ross Kauffman and Zana Briski that won the documentary audience award at this year's Sundance Film Festival. The company also has sealed a series of long-simmering deals on a spate of other indie docu titles, including Matt Mahurin's I Like Killing Flies, Vikram Jayanti's Game Over: Kasparov and the Machine, Claude Nuridsany and Marie Perrenou's Genesis and Barry Avrich's The Last Mogul: The Life and Times of Lew Wasserman. Brothels -- a look at children growing up around prostitution in squalid Calcutta, India -- is being released in association with HBO/Cinemax Documentary Films in New York on Dec. 8, with a national expansion planned next year.
Sundance
Film Festival
PARK CITY -- Anyone who has ever thought that documentaries lack the emotional impact, drama or sheer moviegoing pleasure of fiction films will likely change their mind after seeing "Born Into Brothels". A look at children growing up around prostitution in Calcutta, India, this is a work of art so deep and resonant that it puts most narrative films to shame. Before airing on HBO next year, the docu could enjoy a healthy theatrical run with careful handling.
Photographer Zana Briski went to India in 1998 to shoot the hardscrabble life of women. When a friend took her to the red-light district, she knew she had to document what she saw. She moved in and started to forge a bond with a group of kids that lasted more than five years. She bought them cameras and taught them how to shoot. Before recruiting co-director Ross Kaufman from New York to help her make a movie, Briski had never picked up a video camera.
The first shot of the film is a close-up on children's eyes, an invitation to see the world the way they do. The story follows seven kids, ages 10-14. Their mothers are prostitutes, and in one case the grandmother and great-grandmother were too. It's almost impossible to escape, and these beautiful children have learned to accept life as sad and painful.
A mother dies after her pimp lights her on fire in the kitchen. The father of another sits around and smokes hash all day. "I try to love him a little anyway," his son says. Because the kids have had to grow up fast and the adults are so lost, they have developed extraordinary compassion and look out for one another.
Into this squalid environment, Briski -- a clear-eyed, dark-haired, lanky woman -- brings hope where there hasn't been any. Taking pictures may be the first chance these kids have had to express themselves. Briski takes them to the zoo and the beach to shoot, and for a moment they are just like any other kids.
One of them, 12-year-old Avigit, is a born artist. He's happiest when he's putting his thoughts into colors, either painting or shooting scenes of the incredible street life. He is invited to participate in a World Press Photo Foundation program in Amsterdam, and after much wrangling with the Indian bureaucracy, Briski secures a passport for him. Watching him encounter the outside world is one of many profoundly moving moments in the film.
The kids call Briski Auntie Zana, and witnessing the love she brings to them, which they return, is like experiencing a clearing in the clouds. Not content with just teaching them photography, Briski labors mightily to enroll them in boarding schools and get them out of the brothel -- a change of scenery that does not take for all of them.
Befitting her training as a still photographer, Briski, with Ross, has created a collection of exquisitely composed images. Although the directors worked with only a translator, recorded their own sound and risked life and limb filming in the neighborhood, tech credits are outstanding throughout. Music by John McDowell, featuring both Hindi chanting and Western sounds, ideally complements the action.
"Born Into Brothels" is a triumph of the spirit for all involved.
BORN INTO BROTHELS
Red Light Films
Credits:
Producers-directors-directors of photography: Zana Briski, Ross Kaufman
Executive producer: Geralyn White Dreyfous
Music: John McDowell
Editor: Nancy Baker
Running time -- 85 minutes
No MPAA rating...
Film Festival
PARK CITY -- Anyone who has ever thought that documentaries lack the emotional impact, drama or sheer moviegoing pleasure of fiction films will likely change their mind after seeing "Born Into Brothels". A look at children growing up around prostitution in Calcutta, India, this is a work of art so deep and resonant that it puts most narrative films to shame. Before airing on HBO next year, the docu could enjoy a healthy theatrical run with careful handling.
Photographer Zana Briski went to India in 1998 to shoot the hardscrabble life of women. When a friend took her to the red-light district, she knew she had to document what she saw. She moved in and started to forge a bond with a group of kids that lasted more than five years. She bought them cameras and taught them how to shoot. Before recruiting co-director Ross Kaufman from New York to help her make a movie, Briski had never picked up a video camera.
The first shot of the film is a close-up on children's eyes, an invitation to see the world the way they do. The story follows seven kids, ages 10-14. Their mothers are prostitutes, and in one case the grandmother and great-grandmother were too. It's almost impossible to escape, and these beautiful children have learned to accept life as sad and painful.
A mother dies after her pimp lights her on fire in the kitchen. The father of another sits around and smokes hash all day. "I try to love him a little anyway," his son says. Because the kids have had to grow up fast and the adults are so lost, they have developed extraordinary compassion and look out for one another.
Into this squalid environment, Briski -- a clear-eyed, dark-haired, lanky woman -- brings hope where there hasn't been any. Taking pictures may be the first chance these kids have had to express themselves. Briski takes them to the zoo and the beach to shoot, and for a moment they are just like any other kids.
One of them, 12-year-old Avigit, is a born artist. He's happiest when he's putting his thoughts into colors, either painting or shooting scenes of the incredible street life. He is invited to participate in a World Press Photo Foundation program in Amsterdam, and after much wrangling with the Indian bureaucracy, Briski secures a passport for him. Watching him encounter the outside world is one of many profoundly moving moments in the film.
The kids call Briski Auntie Zana, and witnessing the love she brings to them, which they return, is like experiencing a clearing in the clouds. Not content with just teaching them photography, Briski labors mightily to enroll them in boarding schools and get them out of the brothel -- a change of scenery that does not take for all of them.
Befitting her training as a still photographer, Briski, with Ross, has created a collection of exquisitely composed images. Although the directors worked with only a translator, recorded their own sound and risked life and limb filming in the neighborhood, tech credits are outstanding throughout. Music by John McDowell, featuring both Hindi chanting and Western sounds, ideally complements the action.
"Born Into Brothels" is a triumph of the spirit for all involved.
BORN INTO BROTHELS
Red Light Films
Credits:
Producers-directors-directors of photography: Zana Briski, Ross Kaufman
Executive producer: Geralyn White Dreyfous
Music: John McDowell
Editor: Nancy Baker
Running time -- 85 minutes
No MPAA rating...
Sundance
Film Festival
PARK CITY -- Anyone who has ever thought that documentaries lack the emotional impact, drama or sheer moviegoing pleasure of fiction films will likely change their mind after seeing "Born Into Brothels". A look at children growing up around prostitution in Calcutta, India, this is a work of art so deep and resonant that it puts most narrative films to shame. Before airing on HBO next year, the docu could enjoy a healthy theatrical run with careful handling.
Photographer Zana Briski went to India in 1998 to shoot the hardscrabble life of women. When a friend took her to the red-light district, she knew she had to document what she saw. She moved in and started to forge a bond with a group of kids that lasted more than five years. She bought them cameras and taught them how to shoot. Before recruiting co-director Ross Kaufman from New York to help her make a movie, Briski had never picked up a video camera.
The first shot of the film is a close-up on children's eyes, an invitation to see the world the way they do. The story follows seven kids, ages 10-14. Their mothers are prostitutes, and in one case the grandmother and great-grandmother were too. It's almost impossible to escape, and these beautiful children have learned to accept life as sad and painful.
A mother dies after her pimp lights her on fire in the kitchen. The father of another sits around and smokes hash all day. "I try to love him a little anyway," his son says. Because the kids have had to grow up fast and the adults are so lost, they have developed extraordinary compassion and look out for one another.
Into this squalid environment, Briski -- a clear-eyed, dark-haired, lanky woman -- brings hope where there hasn't been any. Taking pictures may be the first chance these kids have had to express themselves. Briski takes them to the zoo and the beach to shoot, and for a moment they are just like any other kids.
One of them, 12-year-old Avigit, is a born artist. He's happiest when he's putting his thoughts into colors, either painting or shooting scenes of the incredible street life. He is invited to participate in a World Press Photo Foundation program in Amsterdam, and after much wrangling with the Indian bureaucracy, Briski secures a passport for him. Watching him encounter the outside world is one of many profoundly moving moments in the film.
The kids call Briski Auntie Zana, and witnessing the love she brings to them, which they return, is like experiencing a clearing in the clouds. Not content with just teaching them photography, Briski labors mightily to enroll them in boarding schools and get them out of the brothel -- a change of scenery that does not take for all of them.
Befitting her training as a still photographer, Briski, with Ross, has created a collection of exquisitely composed images. Although the directors worked with only a translator, recorded their own sound and risked life and limb filming in the neighborhood, tech credits are outstanding throughout. Music by John McDowell, featuring both Hindi chanting and Western sounds, ideally complements the action.
"Born Into Brothels" is a triumph of the spirit for all involved.
BORN INTO BROTHELS
Red Light Films
Credits:
Producers-directors-directors of photography: Zana Briski, Ross Kaufman
Executive producer: Geralyn White Dreyfous
Music: John McDowell
Editor: Nancy Baker
Running time -- 85 minutes
No MPAA rating...
Film Festival
PARK CITY -- Anyone who has ever thought that documentaries lack the emotional impact, drama or sheer moviegoing pleasure of fiction films will likely change their mind after seeing "Born Into Brothels". A look at children growing up around prostitution in Calcutta, India, this is a work of art so deep and resonant that it puts most narrative films to shame. Before airing on HBO next year, the docu could enjoy a healthy theatrical run with careful handling.
Photographer Zana Briski went to India in 1998 to shoot the hardscrabble life of women. When a friend took her to the red-light district, she knew she had to document what she saw. She moved in and started to forge a bond with a group of kids that lasted more than five years. She bought them cameras and taught them how to shoot. Before recruiting co-director Ross Kaufman from New York to help her make a movie, Briski had never picked up a video camera.
The first shot of the film is a close-up on children's eyes, an invitation to see the world the way they do. The story follows seven kids, ages 10-14. Their mothers are prostitutes, and in one case the grandmother and great-grandmother were too. It's almost impossible to escape, and these beautiful children have learned to accept life as sad and painful.
A mother dies after her pimp lights her on fire in the kitchen. The father of another sits around and smokes hash all day. "I try to love him a little anyway," his son says. Because the kids have had to grow up fast and the adults are so lost, they have developed extraordinary compassion and look out for one another.
Into this squalid environment, Briski -- a clear-eyed, dark-haired, lanky woman -- brings hope where there hasn't been any. Taking pictures may be the first chance these kids have had to express themselves. Briski takes them to the zoo and the beach to shoot, and for a moment they are just like any other kids.
One of them, 12-year-old Avigit, is a born artist. He's happiest when he's putting his thoughts into colors, either painting or shooting scenes of the incredible street life. He is invited to participate in a World Press Photo Foundation program in Amsterdam, and after much wrangling with the Indian bureaucracy, Briski secures a passport for him. Watching him encounter the outside world is one of many profoundly moving moments in the film.
The kids call Briski Auntie Zana, and witnessing the love she brings to them, which they return, is like experiencing a clearing in the clouds. Not content with just teaching them photography, Briski labors mightily to enroll them in boarding schools and get them out of the brothel -- a change of scenery that does not take for all of them.
Befitting her training as a still photographer, Briski, with Ross, has created a collection of exquisitely composed images. Although the directors worked with only a translator, recorded their own sound and risked life and limb filming in the neighborhood, tech credits are outstanding throughout. Music by John McDowell, featuring both Hindi chanting and Western sounds, ideally complements the action.
"Born Into Brothels" is a triumph of the spirit for all involved.
BORN INTO BROTHELS
Red Light Films
Credits:
Producers-directors-directors of photography: Zana Briski, Ross Kaufman
Executive producer: Geralyn White Dreyfous
Music: John McDowell
Editor: Nancy Baker
Running time -- 85 minutes
No MPAA rating...
- 1/23/2004
- The Hollywood Reporter - Movie News
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