Meet the New NYWIFT Member: Bakhtawar Tagar
Welcome to NYWIFT, Bakhtawar Tagar! Bakhtawar is a Pakistani-Canadian documentary filmmaker and editor based in Brooklyn. Her work is rooted in amplifying marginalized voices through stories centered on indigenous land rights, environmental and human rights justice, decolonization, women's rights, and LGBTQ+ advocacy. A lifelong storyteller, Bakhtawar grew up devouring books, magazines, and news stories. In her 20s, witnessing the persecution of minority communities in Pakistan, while much of the world remained unaware, she felt a responsibility to bring these stories to light, with the hope of making the world a little more just, one story at a time. Bakhtawar’s short documentary Naaz, which follows her aunt, Dr. Farah Naz, a healthcare provider in a rural village in Pakistan working to keep her not-for-profit maternal health clinic open amid systemic and personal challenges, recently won Best Editing at the Delhi International Short Film Festival and is set to screen at the Athena Film Festival in New York City in March. In our interview, she discussed her journey into documentary filmmaking, her commitment to social justice storytelling, and the responsibility she feels toward the stories she tells.
READ MOREShifting the Conversation: Mental Health and Career Sustainability in the Doc World
Living in survival mode and keeping it all together for their crew and subjects is what documentary filmmakers are good at, but it often comes at great costs to their own mental health and physical well-being. Member Janine McGoldrick offers a recap of NYWIFT's recent panel on mental health in the doc world, and how some leaders are starting to shift the conversation to address what was once a taboo subject.
READ MORETrue Crime: Relationships and Responsibilities
There is no doubt that the “true crime” documentary genre is thriving and that such film and television projects are enjoying unprecedented buzz. Studies show that women are their biggest audience, and broadcasters are taking notice. By the nature of their work, non-fiction storytellers are always considering how to present and represent their subjects through the creative process. But how is that further complicated in the “true crime” space, when the stakes might literally be life or death? Where do they draw the line between journalism and entertainment?
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