Shumita Basu

So often you have managed to seek out women in places where their stories are not being highlighted in major ways.

In the film, it gets into a little bit about your photography around maternal health and mortality rates in Sierra Leone.

Yeah.

And the story that you followed where a woman died giving birth and you were present for that and you were documenting that.

Can you tell me a little bit about that story, but also just, I mean, the sensitivity of covering these moments of extreme vulnerability of death even?

Because she delivered the first baby, as you said, at home to the village, but the second baby was stuck.

The thing that you say you seek most in your work.

You know, photojournalism obviously has been such a male dominated field for so many years, not to say that important work hasn't always been done by women photojournalists, too.

But I mean, you talk about this a little bit in the documentary, but not a whole lot.

Actually, this this idea of you kind of allude to some of the limits of.

Of being a woman in some of these conflict zones, maybe sometimes being told you can't go to certain areas.

But clearly womanhood is also some kind of pass for you that you see it in that way.

It allows you an invitation into certain spaces that otherwise you may not get.

One of the funniest things that you said in the documentary was at some point there's a scene of you at home and there's some kind of chaos going on.

I don't know, your toddler is having a meltdown or something and you just go, Oh my God, kids are so much harder than war.

Which is funny on many levels.

But tell me about the war at home.

What's going on at home?

And we see this insight into your family life.

You've got two boys and,