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First, the Recap:
“I believe the children are our future. Teach them well at let them lead the way”. That is a lyric from the iconic song titled “Greatest Love of All” by an equally iconic artist, the late Whitney Houston. Does it not, in two simple lines, sum up a truth that we should hold so dear in this world? Seeing our youth not just be born, raised, and left to their own devices, but rather unerringly nurtured in their hopes, dreams, and skillsets so that the impact they might have will not just be realized, but remembered. This falls not only on the efforts of those children to work hard for what they strive for, but also upon the shoulders of those whose mission it is to GET them there. In India, a startling statistic echos out–12 million girls are married off before the age of 18. Arranged from as early as birth, they are given no recourse, no choice to avoid becoming child brides–until now. Witness the story of several girls who have had the aid of some who fight to see this practice end and promote new generations of girls to attain a better future–on THEIR terms.
Next, my Mind:
This critic will freely admit that there are times when documentary film can be a challenge to write about, only in that when it is a form of project that doesn’t follow a typical narrative format like fictional works, it requires adjustment to accommodate what it DOES present–REAL LIFE. Let’s face it, sometimes, it’s a DOSE of that–the awareness it raises, the actuality it compels us to consider, the action it can persuade us to become a part of to see necessary change for the better occur–we NEED, even if it must slap us on the face or punch us in the gut to gain our attention. Ultimately, it should all be accompanied by the inspiration of seeing those who go against “tradition” in order to promote a radical shift in cultural/societal “norms” and thinking, which is precisely what is brought to the table via the World Premiere of this documentary short from director Vijayeta Kumar, producers Guneet Monga, Ashvini Yardi, and Achin Jain plus executive producer Douglas Blush at the 2022 DFW SAFF (where the film took home Best Shorts Director – Female) sponsored by Toyota USA and hosted by Jingo Media Founder/Festival Director Jitin Hingorani and Artistic Director Ambica Dev.
With both an eloquent yet intentionally, intelligently forceful manner and execution, this 36-minute film wastes no time in delivering harsh, honestly shocking realities about the nature of the institution it focuses on–child brides. Despite the practice itself being outlawed in India since 1929, it remains that 27% of girls are still arranged to be married off before age 18, even despite any objections their parents might have, as they are ostracized by family, friends, even whole communities should they do so. Often steeped in, but not limited to, the matrimonial system known as the Aata Saata, where it effectively amounts to an exchange arrangement between families for daughters to marry with the promise of getting a daughter in return, it is far more than evident that the mental and physical well-being of these far-too-young-to-be-married girls is taking a drastically impactful toll on them.
Top this off by having to already be living in a society that very much struggles and pushes against recognizing the actual value of women and their ability to contribute to life WELL beyond cooking and household chores, the girls interviewed over the course of the film have to confront this deep-seated patriarchal attitude that continues to dominate India’s overall temperament. In some circumstances, even the local authorities in the three villages located in Rajasthan we see centered upon don’t lift a finger to prevent the ongoing travesty of becoming child brides that is being placed upon the girls. BUT–through all of this gender and caste division present there is HOPE via a non-profit organization known as MJAS. Founding member and Dalit Rights activist Bhanwari Devi spearheads the efforts to not only see this practice ended but aided in creating the means for the girls caught up in it to gain sisterhood, a safe space to share, and possibly the ability to get OUT of the forced marriages they’ve been subjected to–all through one activity that unifies them–football (what we in the U.S. refer to as soccer).
Providing the wholly longed for sense of confidence and independence they’ve been made to miss out on (or feel was never allowed in the first place!) via a combination of physical activity and concentration on continuing education while establishing true bonds with others, over 200 girls are now training and playing football thanks to MJAS while discovering it is possible to understand and accept being cherished, encouraged to realize their potentials, and finally knowing the empowerment to have FREEDOM to think for themselves rather than have life dictated to them by the whims of others, proving they can excel. MJAS child rights activist Annu, women’s/human rights activist/MJAS founding member Indira Pancholi, MJAS coordinator Padma Joshi, and football coach Aarti Sharma all provide both jolting and heartening perspectives on their journeys working with MJAS and the girls, which has yielded amazing, dramatically moving results as they all witness the transformation of girls damaged by child marriage turn into joyful, life-affirming individuals who are now in charge of their OWN lives.
As one would then expect, the real potency of this film resides in getting to hear directly from the girls themselves, which this critic gives them incontrovertible credit for in having a willingness to share so transparently about their plights, given that it strikes them so overtly and with the completely understandable magnitude of stirring emotional depth their harried circumstances have garnered. Kiran, Payal, Sumitra, Monica, Pooja, Chanta, Mamta, Kanchan, Komal, and Sapna provide these insights into the inward and outward conflicts their arranged marriages, whether still pending or already in place, have had on them but then also bring such vibrant, revitalized sense of newfound happiness, positiveness, and conviction about what the MJAS organization has done and is doing for them. It just cements in our minds the desperately desired call for more people to be doing more actions to just HELP OTHERS, and that is the message of both challenge and victory these girls bring in the midst of such a tragic practice they’re living.
Additional interviews also come from several of the girls’ families and others who know them in the Rajasthani villages, including Manbar Bhil (Monica’s mother), Om Rawat, Parsi Devi (Mamta & Samta’s mother), Sita Devi and Rameshwar Lal (Annu’s mother and father), Santosh Devi (Payal’s mother), and Chanta Devi (Pooja’s mother-in-law). Again, this all puts the required opinions and feelings about child marriage more and more into the spotlight, and I would truly say anyone NOT moved by this film might need to check for a heartbeat. So, in total, “Kicking Balls” is a fully realized, need-to-watch portrait of heartbreaking facts, inspired effort to change cultural routine, the validating strength of sports, and acknowledging the fragility and unsure thing it is FOR imperative transfiguration to stick while fundamentally celebrating the power of the human spirit when it’s given a chance to shine, find new significance, rise up against injustice, and showcase that these girls are finally getting to establish that which was attempted to be denied them–their OWN worthy, dignified, brightly bursting forth with aptitude, self-worth-imbued identity.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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