Avijit, Manik, Puja, Shanti, Gour, Tapasi, Suchitra, Kochi.
They are a special group. Their mothers lived by copying the shameless flesh and blood of the world.
The appearance is that photographers Zana Briski and Ross Kauffman handed the film camera to the eight children, taught them the knowledge of photography, and used a unique angle to explore the world in the eyes of the children of prostitutes living at the bottom, and to explore the imagination hidden in their photos. strength and artistic value.
Under the surface, what catches our thinking even more is that the depth of the camera digs out the truth they revealed after they took off their defenses, revealing their perception of the world.
They're mature enough to understand the world they're in, they know how to draw the curtains or play on the balcony and fly kites while their mother works. They dare not hold out hope for the future. They know but have not yet sunk into motherly prostitutes-in-training. After experiencing the freshness of photography, their helplessness to the status quo and their expectations for change are worth Zana Briski's rushing between these families and bording school.
Zana Briski, who has been in contact with these children struggling in the red light district for many years, wanted to do something for them. She helped them find a school, received a normal education, tried hard to give them a better life, and escaped the inevitable fate of the red light district.
I questioned what she could do, I even questioned whether the misery in her eyes was an imposed point of view on the child, and I questioned whether she brought more joy than the child's current environment could bear and get. But she at least gave them access to the world outside the world. Although the results were not all happy, there were many regrets lingering. They still have hope.
Avijit returned to Calcutta, and chose to enter the Future Hope School.
Manik's father would not let him go to school.
Puja's mother withdrew her from the Sabera school.
Shanti left the Sabera school of her own accord.
Gour still lives at home and hopes to go to university.
Tapasi ran away from home and went to the Sanlaap school for girls.
Suchitra's aunt refused to let her leave the brothels.
Kochi chose to stay at Sabera. She is happy and doing well.
The ending was rushed and this script still has A lot of follow-up development, waiting for the next caring person.
A good documentary, by my definition, should be thought-provoking. In the adult's lens, a lot of helplessness, enduring, and numbness were captured. A series of negative emotions hangs behind their laughter, off the screen. But amazingly, the world reflected in their negatives is completely devoid of decadence. The shy face of the cousin, the exposure of the naughty hands in the light and shadow, the figure chasing by the sea, the woman standing in front of the door. . . In the still picture, they have their little joys. Who rules the world view, I don't know.
What do you see in the lens? What kind of export do you need?
After watching a lot of confusing films in the post-economic era, these kinds of humanistic care films can arouse a new round of viewing focus for me. Getting rid of the overflowing angle of little love, little loss, little despair, little violence, etc., there is a group of children focusing on the substructure that we have long forgotten. A group of children amazed us with the photos in their hands. The so-called craftsmanship and talent are separated to some extent. There is a group of children who dare not expect a future beyond our imagination.
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