Made In India

Directed by: Rebecca Haimowitz & Vaishali Sinha

Florida Film Festival Screenings: April 11 at 8:30pm and April 15 at 4:00pm http://www.madeinindiamovie.com/

Unregulated industries are politically in vogue, especially in regards to the term “hot button issue” (I’m thinking Wall Street). Don’t worry though, this review will have nothing to do economics and will make no mention of derivatives or collateralized debt obligations (except for just then). Rather, the subject of this review is that of International interest and the subject of outsourcing. One of the in- competition films at this year’s Florida Film Festival is the human interest documentary Made In India. It is a film that loosely documents an international relationship between India and the United States, but its sights are set on more personal matters.

The focus of the film alternates between two characters, both women. The first is the American, Liza Switzer. Lisa is the prototypical aspiring mother, constantly thinking about a life post-pregnancy, and all the little ways her life would change with the advent of a newborn child. The second character is the Indian, Aasia Khan. Aasia is a surprisingly giggly young woman who has several children of her own, and who has learned of a surrogacy program that she believes will provide sufficient financial stability for her and her already robust litter. She is having a child to provide for her children.

Essentially what we are doing in the process of watching Made In India is hoping for a smooth transaction, completely devoid of an international incident. The audience will clamor for diplomacy and a happy ending in the stead of what could develop. Don’t let the bridges burn, and it is the industry of “Reproductive Tourism” that bridges the two characters/countries in the first place. Lisa isn’t able to have children and unprepared financially for surrogacy, at least in the States. What Lisa learns about is the “Reproductive Tourism” program which outsources surrogacy to India and for a fourth of the cost. This sets everything in motion and introduces us to the major players (Lisa, Aasia, and the industry).
While the film focuses on the personal lives of these two women amidst the unique issue of international surrogacy, it is that backdrop itself that is looming over the entire story. The film wants us to identify with the unbearable worries of an anticipating mother and the desperate poverty of someone who would sell their body not to keep up with the joneses, but to merely exist comfortably (relatively). But that faint, lurking fog of international socioeconomics rolls through the subtext and forces you to ponder that ultimate uncomfortable comparative thesis: “White and Brown; what does it all mean”.

This is a desirable experience for the political mind of someone who wants to know what is going on in the world. Upper class white people in turtlenecks will enjoy discussing the ethics behind the story, and they should. The filmmakers certainly made the choice to avoid any kind of preachy, self interested stance a la Michael Moore. They take a more hands off, didactic approach which lets things simply happen and gives viewers the chance to create their own feelings/ideas as to the moral/ethical dilemmas that the film barely comments upon. It is a little refreshing not to be told what to think, truthfully. The only true opinion this film develops is the slightest nugget of an implication that perhaps a completely unregulated industry can be incredibly dangerous. With that being the case I would warn any member of the Tea Party to avoid this film as that subtle anti-regulation is coupled with something else to create a tandem of their two least favorite things: Regulation and outsourcing.

This is a truly interesting film, and one that will make for great discussion as you walk out of the theater with your turtleneck clad friends. It is akin to that of a This American Life story, and I wouldn’t be surprised if it hasn’t been one already. If you’re interested in seeing Made In India, it will be playing at the Winter Park Regal Cinema on April 11 and April 15.

-Cody Mattox