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Children of God


directed by Yi Seung-Jun, 90 minutes

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CHILDREN OF GOD explores the life of the children who live beside the Baghmati River in Nepal on the sacred grounds of a Hindu temple in Katmandu, an area forgotten and ignored by the world, but considered the holiest and most sacred to the Nepalese people. The children are undeterred by the daily cries and wailing from the daily funeral ceremonies; instead they rob the corpses for food and dive into the river to grab coins used as funeral offerings by the mourners. Some risk their lives by begging while others fall prey to drugs and disease. The documentary exposes the social conditions of the suppressed Nepalese people through the plight of their children, where reverence for the old and dead far outweighs the care for the young and living. Experiencing their innocence and their hardship through songs, stories and heartbreaking living conditions, CHILDREN OF GOD exposes the contradiction of the material world that rests upon perhaps the most spiritual culture on earth.

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Cinematography Edited By Written By
Executive Produced By Produced By
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Top reviewer
1 member found this review helpful Created over 3 years ago.

Reminiscent of "Children Underground" (Romania, 2000). Keeps us wondering when death is kinder than continued life. Shows how funeral rituals provide steady income for orphans. Deficiencies: Wrong aspect ratio in full-screen mode; too many nostril and eyeball shots.

Created over 3 years ago.

heartbreaking...but at the same time, a must see!!!!!!!!!!!!!!!!!

Created over 5 years ago.

This is a heavy film that follows a short time in the lives of 3 children living on the streets of Katmandu Nepal. Their lives are hard and spent mostly scrounging for their next meal. While thier mother is somewhat present she is not available to her kids while drunk (much of the film).

There may be a ray of hope for the kids but it isn't really visible to the viewers. The filmmakers did a commendable job capturing the plight of the children living on the edge of society.

Most fascinating to me was their location next to the crematorium and the hospital. The fact that the hospital is less a place of recovery than that of hospice was a saddening realization. It was hard to watch the families that came through the hospital and then on to the cremation sites on the edge of the river. Though this was a secondary focus of the filmmakers they did an admirable job treating the rituals with reverence and the families with respect.

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