Director
The concluding film of "How Democracy Works Now," a documentary series that brings the viewer behind the scenes of American democracy and shows how change happens at every level of government. The Senators' Bargain plunges viewers directly into the backstage reality of a remarkable moment -- before the 2008 elections, before the bailouts, before Tea Partiers -- when a high-stakes bill six years in the making had a chance to change American immigration policy. But deep at the heart of this fast-moving story, below the level of strategy and protocol, we find a moral tale of modern American politics. Ted Kennedy, one of the handful of people who, through his personal efforts had truly changed the face of America, now would be forced to decide: how much did he want this deal, and what was he willing to trade for his greatest legacy.
Director
This PBS POV documentary gives a shocking look at how the Immigration and Naturalization Service decides who will be granted asylum in the United States. The applicant must have a "well-founded fear" of persecution in his or her home country. Despite true and terrifying stories of torture and mistreatment, it's often up to how well the translator presents the case and how sensitive are the ears of the asylum officer to decide a person's fate.
Director
The textures and complexities of everyday life in India unfold in Michael Camerini's richly observed story of two poor women and their efforts to improve their lives.
Director
A documentary which takes a dispassionate look at the "born again Christian" phenomenon, by examining the power source of the fundamentalist movement: the small, tightly knit community church. The program looks at an independent Baptist church outside Worcester, Massachusetts--the Shawmut Valley Baptist Church--and shows the impact of the fundamentalist religion on the lives of several members of the congregation.
Director
Japanese husband and wife muralists Iri and Toshi Maruki are known for their depictions of the destruction of Hiroshima and Nagasaki. Their collaborative relationship is unique: one paints a painfully detailed vision of the victims of the atomic blast; the other conceals the carefully delineated brush strokes with a grey-black ink “wash.” The first artist restates the specifics of the image; the second re-conceals. Through the repetition of this process, the work emerges.
