Dispatches is a documentary I’m co-directing with Kira Boden-Gologorsky. It captures students at Columbia University who are protesting for free speech. The protests gained attention worldwide and sparked political debates. But our film is more than just about protests. It dives deep into what it’s like to report during a crisis and to film stories that matter right from the heart of it all.
By April 2024, when tents appeared on campus, I had gathered hours of footage. Many students I spoke to were afraid to go on the record. They faced threats, harassment, and fears of losing jobs or future opportunities. We were immersed in a significant news story, yet it felt like no one was truly hearing us.
In filmmaking, I learned that “access is everything.” Initially, I thought this just meant getting someone to agree to an interview. I didn’t understand that I was asking young adults to share their traumatic experiences, putting their safety at risk. This is not just about getting a soundbite; it involves trust and vulnerability.
When legacy media approached the protests, their access often felt transactional. They waited outside while student reporters formed genuine connections. I remember one day walking into the camp with my camera, and a mainstream reporter shouted, “Hey! Why do you get to go inside?” That’s the difference: students prioritized trust and consent.
With Dispatches, we focused on capturing the small, authentic moments amid the chaos. We filmed students waking up in the rain when tents were banned. We documented their organized assemblies and art stations. These moments of community often went unnoticed by mainstream media.
Our production approach was also shaped by this ethos. We used lightweight gear to stay nimble and unobtrusive. Carrying minimal equipment allowed us to move quickly, especially in tense situations. We adopted a “buddy system” for safety and frequently consulted our professors, experienced in conflict reporting, for guidance. This support system was crucial as tensions escalated.
The question of consent was complex. We worked closely with legal advisors to build protocols that protected participants. We allowed students to withdraw from filming and ensured their anonymity if requested. Our aim was not just to tell a story, but to protect those involved.
Even while filming, we envisioned Dispatches as a tool for meaningful conversations about student journalism and press freedom. We are collaborating with educators and First Amendment lawyers to create materials that help students report responsibly. We dream of screenings and discussions facilitated by student bodies on campuses nationwide. This project aims to spark dialogue around journalism, ethics, and trust in today’s world.
Today, student journalists face challenging climates. According to a recent survey by the Student Press Law Center, nearly 40% of student journalists reported facing censorship. As these students navigate their worlds, documentaries like Dispatches serve as vital reflections of their experiences and challenges.
This film is about more than protests. It’s about understanding the ethics of storytelling. It’s a reminder that in a time of distrust, building relationships and cultivating a safe space for voices are essential.
