A Dream Called Khushi is a striking short documentary by filmmaker and journalist Rishabh Raj Jain, tracing the life of Khushi, a young Rohingya refugee determined to pursue an education within a camp in Cox’s Bazar. What starts off as a personal profile evolves into a commentary on the stateless condition of refugee youth. The documentary highlights Khushi’s quiet strength and clarity of purpose.

The documentary was part of Rishabh’s graduate work at NYU and has been met with critical acclaim, including a bronze medal at the 2024 Student Academy Awards. 

Half-Light speaks to Rishabh about his perspective on a complex and gripping subject. 

HL: Did you always have a clear vision for A Dream Called Khushi or did it evolve along the way? Are you open to the idea of letting the project take its final form in an organic way?

RJ: We certainly had a vision for the project and had been in discussion with Khushi, her mother and other members of the family for about 6 months before we started filming in August 2023. It was during my graduate program at New York University that I first realized I want to go back to the camps in Bangladesh and continue telling the story of Rohingya children denied education because I was never truly able to shake off the fact that more than 600,000 children, some of who I spent a lot time with, wanted desperately to go to school but were simply not allowed. So we had the basic premise and our star character Khushi to tell that story. But that is about all we had planned. It is a non-fiction project that closely followed the ethics of journalism which meant we were often mere observers. Many scenes, including the fight scene, just happened in front of us and we were there in time to capture it. It is during the edit that we had more of an idea of how we were going to unfold the narrative and what will make the cut and what won’t. Let’s just say a lot of it had to be cut out because we filmed a lot for a 35 min documentary – but that’s never a bad problem. It was towards the very end of my program, months of editing, re-editing and after immense feedback, that I realized I had to inject myself into the narrative in the form of a voiceover to help the audience get into the story a bit more, bringing in the parts about the impact of my journalism on Khushi’s life. So I do think the project evolved organically and that we were able to let it change its form from our initial idea to the final edit. We are now hoping to start a fundraiser to help Khushi and her family get through these initial few years in Canada where they are all going to school and have finally been cut off from refugee related aid after completing a year of asylum. We are in discussion with a Rohingya advocacy group in Bangladesh, run by Bangladeshis, to spread the message of this film in the host country where the Rohingya can be helped the most. The project continues to evolve.

HL: Khushi is the remarkable face among thousands if not millions of young women who deserve better opportunities but are bound by their circumstances. How do you hope your documentary will help us—the viewer—action our concern? How do we contribute to the solution even in a miniscule way?

RJ: This is a very interesting question and made me reflect on when I first started reporting about the lives of children denied education in the Rohingya refugee camps. From the time I was introduced to Khushi in relation to this story, I was inspired by her grit and determination to fight for her right to study. But it was when we sat down for the interview, and later on with her mother Minara, that I realized what an immense battle it had been. Apart from the systemic challenges put in place by the Bangladeshi government to prevent Rohingya from finishing school or going to college, Khushi and her mother had to fight back elder members of the conservative Rohingya community who believed women shouldn’t be educated or allowed to go out of their homes alone. Khushi’s father tried to convince her to give up her educational pursuits and get married, often leading to physical altercations when she said no. It was Minara who stood strong behind Khushi and her other daughters and understood that education was the only way towards a better life for her children. Similar situations abound in the Rohingya community, and to be honest, across South Asia and other parts of the world , where women are still denied equal opportunity or face more hurdles on their journey. But the beautiful thing is many still persevere, like Khushi did, often making for some of the most inspiring stories. So, I’d say the smallest, yet the biggest, thing we can do is not be a hurdle and perhaps rid ourselves of too many preconceived notions of young women, refugees, people of color, or any group in the world, that may hinder them from realizing their true potential.

HL: When you play a supporting role with a young professional such as Khushi, do you think someone in her position is obligated to perform well/live up to expectations? Or do you think that is none of our business once they have been given the fair opportunity they rightfully deserve?

RJ: I think this hits at one of the core questions of our documentary – what is the obligation of a storyteller towards their subject? The answer in pure journalism is often not more than protection of their source’s privacy to a small degree. Some journalists give their sources the privilege of anonymity if they believe the publishing of their story would put the source’s life at risk in any way. But that is usually it. A majority of good journalists however, like to keep in touch with their sources over years and get involved in their lives to a certain degree – keeping up with what is happening, providing any guidance or help they can. While I don’t believe anyone is obligated to perform well because they have been supported in some way, I do think a little bit of encouragement goes a long way in terms of motivating them towards their goals. For example, Khushi and I have been in constant touch ever since she has landed in Canada and we often discuss what programs she is considering in college, which course she is struggling or doing well in, what options she has to improve her writing skills, her part-time job, and acclimatizing to Canadian winters. While that is not much, it gives me an opportunity to understand what their new struggles are and help them navigate that a bit. Khushi and her family have recently been cut off refugee aid in Canada and are in need of financial support. We are using the film to start a fundraising campaign that will hopefully help the family through these initial years in a new country. Giving any kind of support or guidance should be like a relationship where you check in every now and then.

HL: Do you believe that the resolution to minority persecution lie at the policy level, or do you think social/ behavioral change can have a lasting impact (or at least have a butterfly effect?)

RJ:  I think both policy and societal changes are integral to reduce or end minority persecution. While policy plays a key role – for example if the Bangladeshi government decides to allow Rohingya children to go to school, or legally work, it would be directly beneficial for the refugees. However, if that is not followed with awareness campaigns and meetings between local host community, traders, landowners and the Rohingya, it would lead to utter chaos and bitter relations between the host community and refugees as they might perceive Rohingya as a threat to their economic well being. So I believe while policy changes form the base of any kind of change in minority’s lives or rights , it is the change in mindset that makes a policy succeed or fail in its goals. .

HL: What are the next topics you wish to explore in the world of documentary filmmaking? How do you decide if an idea/area is worth your time and exploration?

RJ: I really want to explore the world of observational filming a bit more and while there are issues I would like to make films about, I want to first make a film about a very interesting character I have spent a lot of time with – my uncle. Ran away from home in Eastern India at a very early age to become an actor in Mumbai. Ended up becoming a director on a couple of Bollywood projects before losing almost all his money, only to be saved by the world of regional Bhojpuri cinema in India. I think it is important to like a topic or a person very much before you decide to make a film about it./them. Because you will spend an awful lot of time on the subject – through filming, editing, post production and marketing it. If you are not truly invested, it will show in the final product.

HL: What are 3 documentaries everyone should see? (other than yours)

RJ: I would like to recommend the following:

1. Waltz with Bashir
2. Among the Believers
3. How to Rob a Bank