Among the world’s poorest countries, Bangladesh is also rapidly developing. Mass migration from villages results in densely populated slums and crowded factories. Across the country, 7.9 million children work every day to support themselves and their families, forced to grow up at an incredibly early age.

Filmmakers Hannan Majid and Richard York follow 20 year old Nasir who moved from a rural village to the city. As a child he worked in rubbish dumps and sweatshops, before eventually realising his dream of getting an education. Today, he tries to convince children of Dhaka’s Korrai slum to enrol in school for a better future. Mass E Bhat is a portrait of a developing nation through the eyes of its children.

Directed by Hannan Majid and Richard York
Duration: 72′
Year: 2014

From left to right: Agnes Odhiambo, Gauri van Gulik, Liz Ford, Liesl Gerntholtz, Rothna Begum and Samer Muscati.

The Women’s Rights Division at Human Rights Watch joined The Guardian’s Liz Ford on Tuesday 13 May to discuss the highs and lows of the challenges faced in improving the lives of women and girls around the world.

The event took place as the world’s attention focuses on Nigeria’s kidnapped schoolgirls and subsequent failure to free the more than 200 victims from militant group Boko Haram.

Shining a spotlight on this specific issue is important, but everyday, harrowing realities are being lived by 39,000 girls subjected to forced marriages globally, said Agnes Odhiambo, researcher for women’s rights in Africa.

“You see it happening so much every day that actually you don’t stop to ask yourself what kind of suffering, what kind of abuses do these girls go through? In South Sudan, some girls actually think that death is better than a forced marriage. There are many cases of girls committing suicide.”

In the African context, she added, children being born into the family are of course celebrated but behind the scenes there may be a far more disturbing story, particularly around the issues of sexual violence and maternal health.

The panel was also keen however to point out successes in the fight for women’s rights, highlighting international treaties and conventions moving forward in earnest as well as grass roots initiatives that aim to tackle abuses against women and girls.

Director of HRW’s Women’s Rights Division Liesl Gerntholtz explained that the work her team is doing by collecting accurate information and evidence across some 90 countries is about “the long game” in making positive change.

“We believe, perhaps naively, that if you can just get the information in front of the right people that of course they will want to stop what is going on on the ground, and sometimes they do and sometimes not so much,” she said. “Particularly in human rights, those of us who work have to be willing to play the long game because change is always incremental.”

The fantastic @hrw women's rights division talk at @frontlineclub "It's all about the long game." pic.twitter.com/Xazvauj17c

— Alex Glynn (@alexglynn1) May 13, 2014

In some instances, the significant advances made grow out of local anger at terrible abuses, which HRW is able to take to the policy makers. In Yemen, marriages were happening at extremely young ages and both local and international outrage were ignited when an eight-year-old girl, Rawan, died of internal bleeding after being married to a man five-times her age.

The incident came in the aftermath of the Arab uprisings and after a transitional government took hold. HRW recognised an opportunity to bring gender issues to the negotiating table in the midst of a national constitutional dialogue.

Yemen now has a Child Rights Act, which includes setting a minimum age of marriage at 18 and criminalising those who take part in child marriage. Additionally, FGM [female genital mutilation] has been criminalised. The Act is going to cabinet, and HRW is pressuring them to pass it and send to Parliament along with other constitutional guarantees, said Rothna Begum, researcher for women’s rights in Middle East and North Africa region.

Still, hard and long fought for rights can be very fragile and quickly rolled back, particularly in post-conflict environments, said researcher for women’s rights in emergencies Samer Muscati, pointing to Iraq as an example where the space for women has shrunk considerably despite constitutional guarantees of parliamentary representation set at 25 per cent.

In Somalia’s Mogadishu, Muscati describes a conflict in which sexual violence is an every day fact of life for women and girls with a backdrop of stigma and lack of services to help them.

“They are on their own. One of the positives is that the international community has worked with Somalia to develop joint commitments. The challenge is trying to ensure that those commitments are met,” he said.

Pressure from developed countries could go far in changing the lives of millions of girls and women around the world, however, the UK is cited as playing a negative role – specifically in the recent initiative to tackle issues of forced labour that includes such categories as domestic workers as well as trafficked sex workers, said Gauri van Gulik, global advocate in the Women’s Rights Division at HRW.

“We hear a lot on one hand from Theresa May and others about how they want to end modern-day slavery. But in these negotiations and at this important moment the United Kingdom is saying we don’t want binding standards we just want a recommendation, or guidelines, which is extremely negative,” she said. “There is actually a lot of work to do in the United Kingdom when it comes to foreign policy.”

The audience was invited to ask questions and issues were raised around gaps in services for elderly women, women living with disabilities, or even highly privileged women bound by strictly patriarchal societies. Also, the audience heard how HRW tries to manage compatibility between the complicated relationships inherent to traditional laws where they may be in conflict with human rights laws.

Ultimately, people questioned how they could get involved apart from sending money to a charity and being directly involved to make a difference.

Gerntholtz replied: “Change is local. The most important thing anyone can do is work in their own communities . . . it creates a community of activists that you are a part of.”

Watch and listen to the full event here:

“The evening breeze
blows towards the bride
as she takes her leave
on her wedding day.”

(“New Bride, New Night” by Salma)

On Thursday 26 September, the Frontline Club and DocHouse screened the evocative documentary Salma. Hosted at Rich Mix, the film was the latest in the Between the Lines Follow-Up series.

Directed by Kim Longinotto, the film follows the poet and novelist Salma on her return to her home village where she was effectively imprisoned for 25 years. Editor Ollie Huddleston joined for the post-film Q&A.

Elizabeth Wood of DocHouse began with a discussion on the craft of editing:

“Fiction films are shot to a script, but really, with a film like this, and with all Kim’s films, a script is really written during the edit.”

“I think the best documentary films are like fiction films,” responded Huddleston:

“You’re building a story. . . . I look at this film now and I see it’s of course a film about Tamil Nadu and Muslim culture and Salma, but the important thing is always that it should connect to us. It’s a very universal story in some ways. The bonds, the knots, the ties, the families. Fear of breaking away and not being able to break away.”

Editor Ollie Huddleston. Photo: George Symonds

An audience member asked if the village had changed since the film was made.

“My experience of the village,” said Huddleston, “is what I see through that material. My understanding is that it hasn’t changed, no, not at all. And I think Malik – Salma’s husband – is quite unusual. As much as he was a very strong part of keeping her away and keeping her apart from society, he also helped her to break free, and that’s very unusual.”

“He must have grown too, in a way do you think?” followed Wood.

“Yeah, the weirdest thing was that Kim and Salma, when I finally met her, said he liked the film, that he was proud of the film. That is amazing for me,” said Huddleston. “Because he doesn’t come across brilliantly sometimes. Kim said he was a lovely guy and incredibly friendly and all the rest of it, but maybe he’s happy that the story is being told. He seems very proud of his wife so eventually maybe he’s coming around and maybe the village will change, one day.”

“But,” countered Wood, “do you think perhaps he’s the one who made his sons critical of her?”

“Yes, I do. Definitely he did. But he’s part of the village, isn’t he? I mean they all are. So the village tradition has meant that they’re all bound by the past and traditions that women are locked up and hidden away.”

Ollie Huddleston in conversation with Elizabeth Wood. Photo: George Symonds.

Huddleston then spoke of the difficulties faced during filming:

“Salma had to hide a lot. They thought she was making some kind of drama film and she was going to make money out of this film in some way. So I think there was a lot of antagonism in the village. But she’s an extraordinary, pragmatic, charismatic, thoughtful, incredibly eloquent person so I imagine she found a way to explain it to them, and to get the film made.”

Hands went up in the audience to ask about the inclusion of the Hindu wedding:

“We wanted to balance the film out. That it’s not just Muslim weddings. I mean, that girl is about 10 or 11. It happens quite a lot in the village so that was the reason. It’s quite shocking, and truthful.”

Is she, Salma, interested in the world of politics and making a difference that way?

“She started a women’s refuge in Chennai and yes, she’s very interested in changing the world, most definitely,” explained Huddleston. “Politics is one way of doing that but I think at the moment she’s writing. I couldn’t say whether she’d go back into politics again. Maybe.”

Huddleston then responded to how he approached representing the many complex characters:

“You try to make stories develop. . . . Throughout the film you’re probably thinking, ‘God, how could she [Salma’s mother] do that to her daughter?’ . . . In the end, she helps her publish her books, she smuggles them out – she’s more complicated than that. So to be really crude about it, there’s a kind of set up about who the mother is. You think she’s this person then, later on, you’ve changed your opinion of her. ‘Wow, she’s stood up, she went and got the books, she sent them to a publisher, she is on Salma’s side.’ There’re many references to the mother and the complexity of that relationship is huge and crucial to the film really. You’re trying to make it understandable and very real.”

'Each shot has to count and each moment has to count' – editor Ollie Huddleston #documentary #Salma

— BerthaDocHouse (@BerthaDocHouse) September 26, 2013

To conclude, Huddleston commented on the circularity that the film depicts:

“It’s that idea that we’re constantly going in a circle. When she lies on the floor and says, ‘What can I do, I can’t leave the ones that love me, I’d be completely alone,’ isn’t that true of all families? It’s a circular thing. That seemed to be the most truthful point. She’s still yearning for her mother’s approval or love or closeness. Nothing has changed, in certain ways, even though she’s done extraordinary things.

“It’s because it’s a film about circles. Circles within families, within tradition, within religion, and trying to break free from those. That felt like the most honest end, the most truthful end. Nothing is simple.”

A collection of Salma’s poems and Longinotto’s reflections on creating the documentary is published by OR Books.

Upcoming films in the Between the Lines Follow-Up series can be found here.

Growing up in South India, Salma’s parents took her out of school at the age of 13 and locked her away in a room with a single window. After 9 years she gave in to pressure to agree to an arranged marriage and was released from her house arrest into another kind of prison, in the home of her new husband’s family.

Throughout her desperate years of confinement, Salma poured out her anguish writing poetry which she sneaked out of the house, eventually getting a notebook into the hands of an enthusiastic publisher. Against the odds, Salma became one of the best known Tamil poets and her newfound fame helped her start on the path to freedom.

Following Salma on a trip back to her village, renowned British director Kim Longinotto (Divorce Iranian Style, 1998; Sisters in Law, 2005; Rough Aunties, 2008) paints a nuanced portrait of an extraordinary, resilient woman. Salma has hopes for a different life for the next generation of girls, but as she witnesses, familial ties run deep, and change happens very slowly.

Directed by Kim Longinotto
Duration: 2013
Year: 90′

Between the Lines was a three-day festival that took place at Rich Mix from 1 to 3 March. In a series of follow up events we continue to explore the challenges facing documentary makers, investigative journalists and citizen reporters in the new media landscape.

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