Born Into Brothels: Calcutta's Red Light Kids

It would certainly take a filmmaker of much self-consciousness, something which Zana Briski certainly possesses, to make this film the way she has. Having met with uncooperative roadblocks to shooting a documentary about sex-workers and their families within the squalid confines of Calcutta's red-light district, Briski states early on that she decides to have the children themselves tell their story by supplying them with automatic cameras to use in their own personal ways. The film, however, ultimately becomes an account of one outsider's attempt to save these children from their miserable fates - poverty and sexual abuse. With the children's sex-worker mothers and families, many of whom have apparently spent generations in the district with no escape in sight, used as background elements, Briski focuses solely on the children, entering them into an informal photography seminar where they gather to share contact sheets of their pictures and discuss the problems of shooting amidst uncooperative and hostile subjects and why certain pictures work and why some don't. Thankfully, Briski also interviews the children, and while it's not clear they understand her theories on picture composition, they are, despite being denied education and living amidst fairly brutal conditions of abuse, poverty and indentured servitude, very perceptive and wise to the unfortunate conditions in which they live, their prospects and possess an awareness of the possibilities of life outside of the district. Briski becomes further involved with the children by trying to enter them into school, though most will not accept them because they are the children of sex workers. Indeed, it is the indifference of Indian authorities to the children's plight as much as the abuse they receive from their depraved parents that shocks the viewer. Briski, with some help from some photographic arts people in the United States and Amnesty International, is able to use the children's pictures as a commercial vehicle to raise money to enable them to enroll in a private boarding school (the kids are well aware that education is their only way out of the brothels). Here, Briski's movement somewhat takes over the movie from her subjects, proving how futile western notions of compassionate aid often are to endemic and grave third-world situations like we witness here. This is driven home when of the kids accepted into the boarding school, only one eventually remains because of the economic pressures put upon their families in which the children essentially act as indentured servants, performing household tasks day and night and odd jobs for additional income. So, while the film becomes a parade for Briski's noble cause, I would have liked to have seen more background and interaction between the children and their surroundings, other than simply as child photographers who have been given a brief and, for most of them, fleeting reprieve from their depraved surroundings.

I often disagree with the academy award nominations. It's usually too political to nominate the best movies and performances of the year. Born Into Brothels is an exception, it was nominated and won! The only mistake was not nominating it for best picture.

Brothels is the story of a woman, Zana Briski, who traveled to Calcutta to photograph the brothels. She fell in love with the children and began teaching them photography. The movie is seen through their eyes.

The result is extraordinary in so many ways. Calcutta's red light district is interesting in and of itself. The setting is the first extraordinary feature. The filming makes you feel like you are there. Director Ross Kauffman captures the feeling of being trapped in dark allies with a dark future. Without a director commentary running though the film, you're able to see it all by the way it's been directed. The dark past and future of these families is presented in a beautiful and horrific way.

Secondly, the children are lovable. The story focuses on 8 or 9 children of prostitutes. Each one is unique. Some are incredibly funny, others serious, some are troubled, and at least one has an undeniable talent for photography. You'll leave the theater feeling like you know them.

This is documentary film at its best. It transports us to another country and makes us love the troubled children. What was troubling to me was having to leave the theater never to see these troubled children again. Putting aside the incredible movie-making abilities of these creators, Zana Briski is a true hero.

This is a beautifully conceived and directed film. I knew little about the red light district of Calcutta and certainly nothing of the amazing children whose photographs are not only dramatic but also a tool of empowerment, albeit not entirely successful. One of the best documentaries of 2004. There certainly have been several excellent movies about the misery and hopeless nature of life in red light districts throughout the world, particularly southeast Asia. But this film's decision to focus on the children who not only are born in the brothels, but essentially live their entire lives within this damp and dismal walls. Director/photographer Zana Briski is to commended for bringing this to light. Several of my friends had deep empathy for her frustrating experiences with the Indian bureaucracy as she tries to get the children's art work noticed. Great film.

The film makers of this documentary take the viewer into areas that would have been off limits to anyone wanting to explore the life of the children of some Calcutta prostitutes. About ten children are showcased in the film as one of the directors of the documentary, Zana Briski, involves the children in something positive as she teaches them how to use the camera in capturing the world around them.

In gaining the children's confidence, they, in turn, tell us about how they see life in that hostile environment. Most of the girls shown in the film would probably end up in the same situation their mothers went through, as it appears life for them is a vicious circle in which there is no escape. For the boys, in spite of the natural talent shown as they take pictures, the mean streets of Calcutta don't promise much either.

As a documentary, Ms. Briski and Mr. Kauffman, show us how they were able to give the children a different way to look at life, but one wonders what has happened after they finished their work. Are these young girls and boys better off because this experience, or did they go back to the only way of life they knew about?

"Born into Brothels" is a sad commentary on our society at large, because where there is poverty, as it's the case in Calcutta, women will resort into the kind of life where they can get by without any education or skills. These women are actually the victims of a system that penalizes them for just being in the wrong place, at the wrong time.

Let's hope Ms. Briski and Mr. Kaufamn were able to instill in these young girls and boys the idea of looking for something better in their lives if they escape the poor surroundings in which they were born into.

In India, red light districts are booming in cities like Mumbai, Delhi, and Calcutta where millions of transient men live and work far away from their homes and wives. The oldest and the largest of these is Sonagachi in Calcutta where the women have organized into a sex trade union of more than 5,000 active workers and have spread awareness about AIDS and HIV, making Sonagachi one of the few red light districts in the country that does not accept clients without condoms. Subject to a class system that puts them on the lowest rung of Indian society, the mostly illegitimate children of the sex workers are also expected to "join the line" when they reach a certain age. Minor girls are the most sought after in the brothels and secure the highest price, making it very difficult for the parents to let them leave, especially when the only other alternative may be the starvation of their entire family.

In 1997, photographer Zana Briski was assigned to capture images of Sonagachi. While the women were reluctant to let her into their lives, the children quickly responded and Briski became a resident of the brothel for five years. During that time, she provided the children with point and shoot cameras, set up classes in photography, and trained them to document the harsh reality of their daily lives. The result is the Oscar nominated documentary Born Into Brothels, a film that takes us inside the squalid brothels and allows us to see the world through the eyes of some of its most vulnerable residents, five girls and three boys, ages ten to fourteen. Shot in dazzling color using a digital camera, we get to know the children through their photos.

There is Kochi, age 10, who is strong, resilient, tough, and sensitive. Avijit, age 12, seems to be the most talented of the group. He draws, paints, takes pictures and, through Briski's patient efforts, was able to obtain a passport to be a part of a photo-editing panel in Amsterdam. Shanti, age 11, is most eager to learn but is troubled and often feuds with her brother Manik. The others: Gour, Puja, Tapasi, and Suchitra all show a unique ability to find beauty in their ugly environment. The film documents Briski's uphill efforts to place the children in boarding schools to escape the cycle of poverty and exploitation. Some manage to find places in the schools but the biggest obstacle is shown to be the children's own mothers and guardians, often protective out of the sheer necessity for survival.

Born Into Brothels is a testimony to the transforming power of art and of one individual's ability to make a difference. Showing the children's art to Western audiences has helped to raise money for the Sonagachi children's education. It may also serve to make people more aware of the potential talent of millions of other third world children who struggle daily for existence on the streets, the orphanages, and the refugee camps of our teeming world.