Over the past several years, Best Documentary Short has become arguably the strongest specialty category at the Academy Awards, and 2021 is proving to be the same as the directors of four short docs spoke at TheWrap’s Awards Screening Series about how their unique stories were created.
Among them is Sophia Nahli Allison’s “A Love Song for Latasha,” a dream-like short that tells the life of Latasha Harlins, a teen who was killed by a Korean store owner in 1991. The store owner avoided jail time despite being convicted of voluntary manslaughter, and his sentencing is believed to be one of the factors behind the 1992 Los Angeles riots. Allison is a resident of South Central where Harlins lived, and she combined photos and interviews of Harlins’ family and friends with artistic editing to create a unique depiction of a Black girl’s life cut abruptly short.
“I knew I wanted...
Among them is Sophia Nahli Allison’s “A Love Song for Latasha,” a dream-like short that tells the life of Latasha Harlins, a teen who was killed by a Korean store owner in 1991. The store owner avoided jail time despite being convicted of voluntary manslaughter, and his sentencing is believed to be one of the factors behind the 1992 Los Angeles riots. Allison is a resident of South Central where Harlins lived, and she combined photos and interviews of Harlins’ family and friends with artistic editing to create a unique depiction of a Black girl’s life cut abruptly short.
“I knew I wanted...
- 2/2/2021
- by Jeremy Fuster
- The Wrap
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
During the intense fall season, the International Documentary Association screens a series of the year's best documentaries with Q & As to follow. I sat down recently with doc vets Ross Kaufman (Oscar-winner "Born Into Brothels') and Katy Chevigny ("Deadline," "Election Day"), co-directors of "The E-Team" (theaters October 22, Netflix October 24), an extraordinary doc that follows four intrepid Humans Rights Watchers as they go deep into dangerous territory to establish-- in a way some journalists do not-- exactly what human rights abuses are happening in countries like Libya and Syria. When they share their results, their fearless work has a huge impact on how the rest of the world reacts to these horrific situations. This should be a strong awards contender. Here's a slightly edited version of the Q & A which is also viewable, along with the trailer, in the videos below. Anne Thompson: You premiered “The E-Team” at Sundance, where...
- 10/23/2014
- by Anne Thompson
- Thompson on Hollywood
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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