(Click CC for subtitles) Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented. Nominated for Best Documentary Award, the film has an undeniable and unshakable power. It is one of those documentaries where anyone who watches it won’t be the same person by the end as they were when it started. To Kill a Tiger offers the viewer remarkable access to village life, not just in the modest home where Ranjit’s family make roti on an open fire, but in the fields where they herd goats and collect water from a pump. The camera finds quiet details, like Ranjit’s daughter carefully weaving ribbons into her hair. Women and men insist that the community, not the criminal court, should solve the issue with a forced marriage—to remove the ‘stain on her’. The men become increasingly hostile—to the family, and eventually to the film crew itself.
Told by the activists and leaders who live and breathe this movement for justice, Whose Streets? is an unflinching look at the Ferguson uprising. When unarmed teenager Michael Brown is killed by police and left lying in the street for hours, it marks a breaking point for the residents of St. Louis, Missouri. Grief, long-standing racial tensions and renewed anger bring residents together to hold vigil and protest this latest tragedy. Empowered parents, artists, and teachers from around the country come together as freedom fighters. As the national guard descends on Ferguson with military grade weaponry, these young community members become the torchbearers of a new resistance. Whose Streets? is a powerful battle cry from a generation fighting, not for their civil rights, but for the right to live.
To Kill a Tiger offers the viewer remarkable access to village life, not just in the modest home where Ranjit’s family make roti on an open fire, but in the fields where they herd goats and collect water from a pump. The camera finds quiet details, like Ranjit’s daughter carefully weaving ribbons into her hair. Women and men insist that the community, not the criminal court, should solve the issue with a forced marriage—to remove the ‘stain on her’. The men become increasingly hostile—to the family, and eventually to the film crew itself.