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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
</B><BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B>Born into Brothels </B>(R)<BR>
</FONT></FONT><B>Friday, April 29<BR>
7:00 PM<BR>
Saturday & Sunday, April 30 & May 1<BR>
4:45/7:00 PM<BR>
</B>$5 adults<BR>
KFS passes accepted for Sunday movies<BR>
<B>(See Review below)<BR>
</B>* * *<BR>
<BR>
<B>Next week at the Kenworthy-<BR>
</B><BR>
<B>The Sea Inside (PG13)<BR>
</B>May 6 ay 7PM<BR>
May 7 - 8 at 4:15 and 7PM<BR>
* * *<BR>
<BR>
<B>Also in May at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
<B>Lost Embrace (NR)<BR>
</B>May 13 at 7PM<BR>
May 14 - 15 at 4:30 and 7PM<BR>
<BR>
<B>Eric Anderson<BR>
in concert<BR>
</B>May 20 at 8:00 PM<BR>
Tickets $5 at Bookpeople<BR>
<BR>
<B>Rendezvous Music Showcase<BR>
</B>May 21 at 7PM<BR>
$5 admission<BR>
<BR>
<B>Hard Goodbyes my Father (NR)<BR>
</B>May 22 at 4:30 and 7PM<BR>
<BR>
<B>Million Dollar Baby (PG13)<BR>
</B>May 27 at 7PM<BR>
May 28 - 29 at 4 and 7PM<BR>
<BR>
<B>Regular Movie prices</B>: $5 adults, $2 children 12 and younger. <BR>
KFS passes accepted for Sunday movies<BR>
</FONT><FONT FACE="Courier"><TT><BR>
</TT></FONT><FONT FACE="Verdana">Kenworthy Performing Arts Centre<BR>
508 S. Main Street, Moscow, Idaho<BR>
For more information, call 208-882-4127 or visit http://www.kenworthy.org<BR>
* * *<BR>
<B>This week’s review-<BR>
<BR>
</B><H2>Born into Brothels<BR>
</H2><BR>
Documentary film<BR>
Produced and directed by Ross Kauffman and Zana Briski<BR>
Directors of photography, Mr. Kauffman and Ms. Briski<BR>
<BR>
In English and Bengali, with English subtitles<BR>
Rated R for some sequences of strong language<BR>
Running time: 1 hour, 25 minutes<BR>
<BR>
<BR>
<B><I><U>As reviewed by A.O. Scott writing for the New York Times<BR>
</U></I></B><BR>
The impulse to document the lives of poor, neglected and oppressed people, which motivates countless filmmakers and photojournalists, is unquestionably noble, but it is not without certain ethical difficulties. Vital as it may be to bring news of human suffering to audiences who might otherwise remain comfortably ignorant, such exposure does not always help the suffering. <BR>
<BR>
While most films of its kind allow this contradiction to hover in the background, ''Born Into Brothels,'' a new documentary about children growing up in Calcutta's rough and squalid red light district, faces it squarely. <BR>
<BR>
Rather than simply record the lives of those children, Zana Briski, a New York-based photojournalist who is one of the film's directors (along with Ross Kauffman), became their teacher and their advocate. They, in turn, started out as her subjects and became her collaborators. The resulting film is moving, charming and sad, a tribute to Ms. Briski's indomitability and to the irrepressible creative spirits of the children themselves. <BR>
<BR>
At some point after arriving in Calcutta in the mid-1990's, Ms. Briski had the simple, improbable and altogether inspired idea of organizing a photography class. The seven children, four girls and three boys, who are the focus of ''Born Into Brothels,'' were given cameras to take pictures of the world around them. Their work provides the film with some of its most beautiful and revealing images, offering glimpses of life in the crowded, colorful alleyways of the red light district that no outsider could capture. <BR>
<BR>
The young photographers approach their tasks with impressive seriousness, and a few of them seem to be budding art critics as well as fledgling artists, offering detailed analyses of lighting and composition. <BR>
<BR>
They also benefit from Ms. Briski's presence, and from her connections. In addition to taking them on photographic field trips to the seashore and the zoo, she organizes exhibitions of their work in India and in New York, and persuades Avijit, an especially talented boy, to enter an international competition. But while ''Born Into Brothels'' recounts her tireless efforts to help her protégés escape from the poverty and sex work that seems to be their destiny, it also shows the limits of what a single person, however dedicated, can do. Ms. Briski's goal was to find boarding schools for the children in her class, which would offer both educational opportunities and, more important -- especially for the girls -- a refuge from the violence and degradation of the brothels. <BR>
<BR>
The challenges she faced ranged from the chaotic state of Calcutta's government bureaucracy to the resistance of the children's parents. ''Born Into Brothels'' tempers its optimism with realism in a way that is both uplifting and heartbreaking. Like Jonathan Kozol's books about young people in American cities, it takes an almost naïve delight in the pluck and intelligence that blossom in middle childhood, while exposing the cruelty of social arrangements that allow those qualities to be squandered. No film can dispel that cruelty, but in giving a handful of children the opportunity to regard themselves as artists and to perceive their surroundings as raw material, Ms. Briski snatches a measure of hope from depressing circumstances. <BR>
<BR>
<BR>
<B><I><U>As reviewed by Jeffrey M. Anderson writing for the San Francisco Examiner<BR>
</U></I></B><BR>
Many of 2004's high-quality non-fiction films proved groundbreaking in the way that they mixed journalism with personal essays. Michael Moore ("Fahrenheit 9/11"), Ross McElwee ("Bright Leaves") and Jonathan Caouette ("Tarnation") succeeded by stepping in front of their cameras and becoming part of the story.<BR>
<BR>
The new film "Born Into Brothels" sounds like one of those stiff, somber films, narrated by someone with a British accent, about how horrible things are, but also how the children are big-hearted enough to endure.<BR>
<BR>
But Ross Kaufman and Zana Briski's new film instead turns out to be a moving and passionate new example of that previously mentioned crossbreed.<BR>
<BR>
While studying the red-light district of Calcutta, British photojournalist Briski became personally involved with several of the children there and began to teach them photography as a way to help them out of their everyday horror. She and co-director Kaufman documented the process.<BR>
<BR>
And thus, the film quickly morphs from another document of misery and strife into a film about these magnificent children and Briski's attempt to get them out of the brothels before the girls are forced to join the dreaded prostitution trade.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Marjorie Baumgarten writing for the Austin Chronicle<BR>
</U></I></B><BR>
Winner of the 2004 Academy Award for Best Documentary, “Born Into Brothels” is a devastating portrait of impoverished Calcutta children who are born into the sex trades, yet the film is also an inspiring document about human possibilities and the need to strive despite impossible odds. <BR>
<BR>
These children capture the images of their daily lives, although their pictures and styles are reflective of their personalities and interests. <BR>
<BR>
Born Into Brothels focuses on seven children, some of Briski’s best and most intuitively gifted students, whom she tries to get placed in private schools as she claims this is probably their only means of escaping the red light district.<BR>
<BR>
The obstacles are stupendous, but so is Briski’s indomitability. The amount of red tape she wades through, and the beseeching, badgering, and cajoling she employs takes the patience of a Job – or maybe a Mother Teresa. <BR>
<BR>
Her travails are a reminder of individual responsibility and the need to attempt to make the world a better place despite the almost certain inevitability of failure. Once a viewer sees these children and their photographs (they were made into a calendar one year for Amnesty International), they are impossible to forget: children, who for once in their lives, can see in their photographs the efficacy of their actions. Heartbreak sets in because we realize as we are watching the film that, by now, most of these pre-adolescents have been turned out into the sex trade and have long ago abandoned their childhood. <BR>
<BR>
The movie’s greatest gift is its ability to perceive a world that is not bereft of all possibility, while also acknowledging the cruel realities that impede most progress. The only outrage is to never have tried. <BR>
<BR>
<BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
<BR>
</I><B>* * *<BR>
</B>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B><FONT COLOR="#0000FF"><U>Mailto:ppalmer@moscow.com<BR>
</U></FONT>Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
<FONT COLOR="#0000FF"><U>Mailto:kpac@moscow.com<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~ <BR>
<BR>
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