Writing With Fire movie review (2021)

At 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). Meera got married at age 14, but her in-laws allowed her to continue her schooling. 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. 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. 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. She bats their hands away and keeps barking questions at them. 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). But Shyamkali is committed to learning. The challenges are multiple. How do you keep your cell phone charged when you don't have electricity?

Journalism is a mostly male profession, as well as an upper-caste one, so these women had (and have) a very tough road. Every time they enter a space, be it a village, a mine, or a government building, they are surrounded by men. Some of the stories they cover are extremely sensitive. They are literally risking their lives. 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. It's even more so for women, and a Dalit reporter is unheard of. 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.

Thomas and Ghosh’s approach is personal and intimate. 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). 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. Outside pressures affect the women's work, and vice versa. Meera is not there as much as she would like to be for her kids. One is falling behind in school. Suneeta is unmarried, and wants to stay that way, although the pressure from her parents is getting to her. Once you marry, you vanish. Shyamkali has very little education. Her husband beat her when she wouldn't quit her job at the paper. The women state their reality in matter-of-fact tones, and then trudge back out into the hostile world to do their jobs, barging their way into rooms where they are not wanted.