Written by Andreas Babiolakis

The discussion of prison is never an easy one, especially when loved ones are involved. Where some people see a loved one who is worth far more than the crime they committed (despite their ability to recognize these faults), society instead sees irredeemable monsters who deserve nothing but the worst punishments. There is no right or wrong answer. Every case is individual and contextual. That’s not what Daughters — a championed documentary by Natalie Rae and Angela Patton — is fighting against, but, rather, the ability for incarcerated individuals to be able to see their loved ones, especially in an attempt to help these criminals change for the better. Daughters is a snapshot of one iteration of the annual Date With Dad program: a tradition where incarcerated men have the opportunity to share a dance with their daughters (it is modeled like a high school or a wedding dance: a chance to bond and rediscover each other after years of separation).

The concept is a simple one, and there isn’t too much to discuss in the way of a review because of how little we see on paper in Daughters. We see the children of varying ages preparing for the father daughter dance, and we also get to know their fathers as well from inside the Washington, D. C. jail. We see what this dance means for both parties, from some daughters learning routines in preparation to the fathers spilling their souls (their hearts opening up again after years of being hardened). Daughters makes sure to actually focus on the dance itself, devoting much time to us just feeling the joy and emotions between these separated souls become rekindled. There’s nothing like seeing the indescribable bliss of reconnected loved ones, but — in that same breath — there’s a similarly titanic wallop that comes from knowing when the last dance is to commence, and not knowing when these fathers and daughters will ever see one another again. Daughters gets into this epilogue as well, with mixed results (some endings are happier than others).

*Daughters* shows the power of the Date With Dad program: an event meant to help rehabilitate criminals.

Yes, Daughters is rather simplified on paper, but it is a complete picture nonetheless. The heavy use of subdued cool colours and enhanced neon hues finds hope within darkness (the stars in the night sky, if you will). The moments we share with either party are made the most of, allowing us to get to know these individuals outside of the stigmas that having a criminal record creates for those who made mistakes or bad decisions. We see the purpose that Rae and Patton were seeking: wrongdoers who want to change once they are reconnected with their children (in this instance, it feels like the daughters are the ones guiding and teaching their fathers). The film ends with a statistic: that ninety-five percent of the fathers who partake in this program are discharged as better people.

I believe it. There’s something special within this annual dance, and it allows its participants to be reminded of the best qualities of themselves and one another. We have been conditioned into feeling — sometimes believing — that strict punishments are the way to go when it comes to rehabilitating criminals. A film like Daughters shows that tenderness and proper emotional education can be the way, depending on the criminal. Even if Daughters isn’t here to provide clear, certain answers, there’s still a proper hypothesis: can kindness and love help people with criminal pasts and jaded loved ones who feel like they have lost everything? The answer may not be a definitive “yes”, but it is a strong enough “most likely”. Of course, this dance or these methods will not work on all criminals, but the idea remains the same for the most part: sometimes, we just need to be shown the light to get out of the darkness.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.