Meera is not there as much as she would like to be for her kids. Outside pressures affect the women's work, and vice versa. When the women talk to the camera, there's a sense of familiarity and openness there, suggesting how deeply the filmmakers have embedded themselves in their subjects' lives. There is no distance from the subject, and the film follows the paper's journalists as they cover different stories (a dangerous mine run by a "mining mafia," an epidemic of Dalit women being raped, Dalit villages with no indoor plumbing, and bigger stories like important local elections with national implications). Thomas and Ghosh’s approach is personal and intimate.
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The men they interview often don't know how to handle being interrogated by small women holding up cell phones, women undeterred by condescension or hostility. It's even more so for women, and a Dalit reporter is unheard of. Over 50 journalists have been killed in India since 2014, making India-along with Iraq, Mexico, the Philippines, and Pakistan- one of the most dangerous locations on the planet for journalists. Some of the stories they cover are extremely sensitive. Every time they enter a space, be it a village, a mine, or a government building, they are surrounded by men. Journalism is a mostly male profession, as well as an upper-caste one, so these women had (and have) a very tough road. How do you keep your cell phone charged when you don't have electricity? Meanwhile, the shy and tentative Shyamkali is so green she doesn't know how to use a cell phone, and is extremely confused by almost every aspect of the job (Meera has to explain to her what a story "angle" is). She bats their hands away and keeps barking questions at them. Two other women on the newspaper staff, Suneeta and Shyamkali, are also figures in "Writing with Fire"'s narrative: Suneeta focuses primarily on illegal mining, and is fearless, interviewing huge groups of miners who not only don't want to talk to her, but leer at her, try to touch her. He's fairly easy-going, but there is some shame that his wife is out at all hours of the night, that she is working at all. Now she has her Master's, and is a working mother, with a husband who still seems to think (and hope?) that Khabar Lahariya is going to fail. Meera got married at age 14, but her in-laws allowed her to continue her schooling.
"Writing with Fire," Rintu Thomas and Sushmit Ghosh’s documentary debut, follows these brave reporters as they work their beats, showing their struggles, triumphs, determination.Īt the center of "Writing with Fire" is Meera, chief reporter of Khabar Lahariya, who not only tracks down stories and reports on them, but oversees the newspaper's pivot to digital, and mentors younger journalists (many of whom have no journalism experience). But Khabar Lahariya persists, even in the face of community hostility and resistance from families, husbands, in-laws. These reporters are all Dalit women, a group considered so "untouchable" they aren't even included in the caste system. The women do on-the-ground reporting of breaking news, all filmed on their cell phone cameras, as well as painstaking (and often dangerous) gumshoe investigations on the issues affecting their community: unsafe living and working conditions, political corruption, the epidemic of rape and violence, particularly against the Dalit population. This entirely women-run news outlet has a digital platform, an active Facebook page, as well as a YouTube channel (10 million views and counting). Everyone expected that the project wouldn't amount to much, but Khabar Lahariya is thriving 20 years later. They called it Khabar Lahariya (translated as "Waves of News"). In 2002, a group of women in Uttar Pradesh formed a newspaper.
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