Escolar Documentos
Profissional Documentos
Cultura Documentos
CEP Films
Presents
In Burma, Smiler Greely fought against the brutal military government, who attacked,
tortured, raped and murdered thousands of the country’s ethnic minorities. After
spending more than 20 years in the confinement of a refugee camp, Smiler and his family
were selected for resettlement by the United States government and assigned to live in
Buffalo, New York.
Nickel City Smiler documents the struggles Smiler’s family and the refugee community
encounter on the streets of one of America’s poorest cities. Forced to fight against
poverty, violence and bureaucracy, Smiler battles for the hope and hearts of his people.
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DIRECTORS’ STATEMENT
We met Smiler Greely in the spring of 2008 and soon became aware of the
extraordinary struggle and hardship he and the Karen people endured as victims of
the cruel Burmese military regime. Smiler has seen and experienced violence and
inhuman conditions that most of us consider a nightmare: people have been raped
and slaughtered, their villages burned and survivors are chased across the border
into Thailand. This has been life for the Karen people and other ethnic minorities in
Burma for the last six decades. After fleeing to Thailand, Smiler was at the mercy of a
refugee camp for more than twenty years; confined from the outside world,
dependent on rationed food, and without much hope.
Sadly, this situation exists all over the world. The United Nations High
Commissioner for Refugees estimates there are more than 43 million “forcibly
displaced people” in 2009 because of war, violence, discrimination and oppression.
Last year the United States accepted nearly 80,000 refugees from Burma, the
Democratic Republic of Congo, Sudan, Iraq, Afghanistan, Somalia, Burundi and
numerous other countries, and has resettled approximately 2.5 million people since
1980.
As one of the many refugees resettled in America, Smiler and his family are looking
for a peaceful life and a chance to succeed. Unfortunately, their dreams and hopeful
expectations are often forgotten by the federal government and resettlement
agencies that are contracted to help. Refugees are placed into poverty and
dangerous neighborhoods, where they continue to face the violence and
discrimination they sought to leave behind. How can anyone, particularly the system
and the organizations hired to help, be so unsympathetic and indifferent towards
those who’ve already experienced such brutality and loss like the innocent people of
Burma?
Before filming, we met with the local resettlement agencies to get a better
understanding of the processes by which refugees are relocated and supported.
What we encountered was typical bureaucratic posturing about how well the
system works. The meetings conflicted with the true conditions and lack of support
we were seeing in the community. We felt compelled to give the refugees a voice.
By filming from their point of view over a six month period, Nickel City Smiler
documents the refugee’s hardship and their incredible determination to one day live
in peace and ensure a better future for their children.
We ask that you watch Nickel City Smiler with an open mind, as we did while
filming. Refugees are not looking for handouts. They’re looking for a peaceful life, a
chance to succeed and a smile.
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CHARACTER & DIRECTOR BIOS
Smiler Greely
As a 10 year old, Smiler and his family were
forced to flee their small village in Burma after
the Burmese military attacked, tortured, raped
and murdered thousands of the country’s ethnic
minorities. As a teenager, he joined the resistance
army to prevent the slaughter of innocent people
at the hands of the Burmese Junta. Eventually,
Smiler and his family escaped into Thailand and
lived in various refugee camps for over 20 years. It was in Beh Klaw refugee camp,
where he met and married his wife Ma Dee and became a father. In 2007, an optimistic
Smiler and his family were selected for resettlement by the United States and assigned to
live in Buffalo, New York’s West Side. He works in the Buffalo Public Schools for the
Refugee School Impact Program, helping refugee children and their families adapt to life
in America.
Moe Joe
Moe Joe is the oldest of Smiler Greely’s children
and was born in a refugee camp in Thailand,
where his parents married after fleeing the brutal
Burmese government. He lives with his family in
Buffalo’s West Side neighborhood and is an A
student, a video game fanatic and chess whiz.
One day, Moe Joe wants to serve in the military
and become a doctor.
Donna Pepero
Donna was born and raised in Buffalo, New
York. She was a former elementary school
teacher before leaving her position to head the
Refugee School Impact Program in the Buffalo
Public Schools. She and her staff of bilingual
refugees work with more than 3000 refugee
children each year. Her team focuses on
helping these children succeed in their new
environment and the American academic system. She can be found having pool
parties and barbeques with the refugee families she’s befriended at her suburban
Orchard Park home, where she lives with her husband, Paul, their five boys and two
dogs. She is also an avid fan of the NHL’s Buffalo Sabres.
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Scott T. Murchie – Director
Scott is a life long resident of Buffalo, New
York, a 2002 graduate from the University of
Toronto’s Film and Video Department and
founding member of Chance Encounter
Productions in Clarence, New York. After
securing funds in 2009, Scott began work co‐
directing his first feature length documentary:
Nickel City Smiler.
Brett M. Williams – Director
Brett graduated from the University at
Buffalo’s Department of Media Study in 2005
and received the Gregory Capasso Memorial
Award for outstanding creative work. He has
produced numerous experimental, narrative
and documentary shorts before co‐directing
Nickel City Smiler, his first feature‐length film.
Brett is also the father of a kindergartner.
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Directed by
Scott Murchie and Brett Williams
Executive Producer
Tunney S. Murchie
Producer
Tom Haywood
Camera and Sound
Brett Williams
Tim Gera
Editor
Tim Gera
Sound Design
Michael Bouquard
Original Music
Michael Bouquard and Brandon Delmont
Additional Photography
Justin Freeman
Erik Jensen
Scott Murchie
Production Assistants
Lauren Adornetto
Gina Adornetto
Visual Effects by
IBC Digital Inc.
Translators
Daniel Lawd
Eh K' Nyaw
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REFUGEE 101*
What is a Refugee?
Refugees are defined under international law as being outside their home country
and having a well‐founded fear of persecution based on race, religion, nationality,
political opinion, or membership in a particular social group. The United Nations
1951 Convention Relating to the Status of Refugees codified this definition and was
augmented by a 1967 protocol broadening refugee recognition beyond an initial
focus on Europeans displaced after World War II. At present, 147 nations are parties
to either the 1951 Convention or the 1967 Protocol.
What is the Difference between Immigrants, Refugees, and Asylees?
While immigrants voluntarily choose to leave their homes and come to the U.S.,
refugees and asylees are forced to flee due to persecution. Immigrants may come to
the U.S. with temporary visas, allowing them to remain for a certain period of time
or under certain conditions (such as students or tourists), or they may have
permission allowing them to remain indefinitely (such as a “green card.”) After one
year of residence in the U.S., refugees and asylees may apply for legal permanent
residency (also known as a “green card” though the card is no longer green). After
five years, legal permanent residents may apply for U.S. citizenship.
Refugees and asylees must both meet the same legal definition of having a well‐
founded fear of persecution due to race, religion, nationality, political opinion, or
membership in a particular social group. However, refugees receive legal
permission to resettle in the United States before they arrive, whereas asylees
receive permission to stay in the United States after they arrive. Those who come to
the U.S. seeking sanctuary from persecution are considered asylum‐seekers. Once in
the United States, they can apply for asylum in order to receive legal protection.
Both refugees and asylees must meet the same criteria as set forth by the 1951 UN
international convention in order to receive their status.
How Many Refugees Are in the World?
According to a 2009 report by the United Nations refugee agency (UNHCR), 42
million people around the world were uprooted from their homes due to conflict or
persecution. Of this number, 16 million were considered refugees, while 26 million
were displaced within their own countries or were considered asylum‐seekers in
other countries. Approximately 45% of the world’s refugees are under 18‐years‐old.
About 80% of the world’s refugees are hosted by developing countries. The largest
refugee producing countries at present include Afghanistan, Iraq, Somali and Sudan,
while Colombia, Iraq, Sudan and the Democratic Republic of the Congo have the
largest internally displaced populations.
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How Many Refugees Live in the United States?
Since 1980, when formal U.S. refugee resettlement began, 1.8 million refugees have
been invited to live in the United States, with recent annual refugee arrivals typically
falling between 40,000 to 75,000. The number of individuals granted asylum in the
U.S. over the past decade has ranged from a high of 39,000 in 2001 to just below
23,000 in 2008.
About 35 to 40 percent of refugees resettled in the U.S. are children. The vast
majority of refugee children—about 95%—resettle in the U.S. with their parents.
About five percent of refugee children are resettled with relatives or other adults
who have agreed to care for the children, while about 100 to 200 children per year
are placed into specialized foster care through the Unaccompanied Refugee Minor
Program.
When did U.S. Refugee Resettlement Begin?
The U.S. admitted more than 250,000 displaced Europeans following World War II,
after which the U.S. Congress enacted the Displaced Persons Act of 1948 allowing an
additional 400,000 European refugees to resettle in the U.S. This legislation was
followed by later laws admitting refugees from Communist countries such as China,
Cuba, Hungary, Korea, Poland and Yugoslavia.
The modern refugee resettlement program traces its roots to the 1975 admission of
over 100,000 Southeast Asian refugees under an ad hoc resettlement program
called the Refugee Task Force. In 1980, Congress formalized the refugee
resettlement program in the Refugee Act of 1980, which included the UN criteria for
refugee status and set the legal basis for the Refugee Admissions Program. Today
this program is operated by the Bureau of Population, Refugees, and Migration
(PRM) of the U.S. Department of State in conjunction with the Office of Refugee
Resettlement in the U.S. Department of Health and Human Services (HHS) and
offices in the U.S.Department of Homeland Security (DHS).
How Does U.S. Refugee Resettlement Work?
Each year, the President of the United States consults with Congress to determine
the regional number of refugees to be admitted into the country during the federal
fiscal year. Over the past decade (1999‐2009), this presidential determination has
allowed for up to 70,000 – 91,000 refugees to enter the U.S. These numbers
represent a ceiling rather than a quota, thus the actual number of resettled refugees
varies each year, with a decade high of 85,000 refugees admitted in 1999 and a low
of 27,000 refugees admitted in 2002. The U.S. admitted over 60,000 refugees in
Fiscal Year 2008.
The graphic below explains the resettlement process from the perspective of an
individual refugee.
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How do refugees get to the United States?
*Refugee 101 information courtesy of Bridging Refugee Youth and Children’s Services, http://www.brycs.org/
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PRODUCTION NOTES
Comments on the production of Nickel City Smiler
by director Scott Murchie
I had considered myself a fairly cultured individual, having traveled the world to
various countries and having the opportunity to stand on places like Macchu Pichu
in Peru, or the Highlands of Scotland. Never in my wildest dreams could I have
believed that the most transformative experience in my life thus far was waiting for
me right here at home, twenty‐five miles away in the city of Buffalo, New York. All
my life I have lived in a suburb of Buffalo, and I never knew that Refugees from all
over the world were being resettled in the city, with the hope of starting their lives
over in an environment free from violence or persecution.
As chance would have it, this entire journey began when Brett Williams and I
made the decision to collaborate on a short film that would bring awareness to
social issues that were happening around the city. Five local social groups were to
be selected and placed randomly with five local filmmakers, in order to get the
group’s message out. As a result we were placed with Journey’s End Refugee
Services, Inc., one of the five major refugee resettlement agencies in Buffalo. Our
mission was to promote an extremely positive and effective program known as the
Refugee School Impact Program, that had been created by Donna Pepero, the
education coordinator at Journey’s End Refugee Services Inc.. I must say that for our
initial meeting with Donna I was quite nervous, since I had absolutely no idea what
to expect.
Upon meeting Donna my apprehensions were allayed and we formed a bond
almost immediately. She is one of the most selfless and warm‐hearted individuals
that I know. Donna does not mince words, and although some people may find this
quality off‐putting, it is a quality that I deeply respect. Our task in the short film was
to examine the School Impact Program, and since this was Donna’s main focus we
necessarily spent a great deal of time with her.
Throughout production Brett and I also met individuals from around the
world who had faced unimaginable things. These same individuals were now here
working with Donna as translators in the Buffalo Public Schools; where their job
was to help refugee children adapt to their new life. At the end of our production
period we had created “Refugees: Buffalo’s New Generation.” This film was a very
positive glimpse into the work that agencies were doing on behalf of these newly
resettled individuals. Then something changed.
As with any project in which you work so closely with your subject matter, a
trust forms between each contributor. Donna, in particular, began to open up and
share with us the truth about the resettlement process here in Buffalo; it became
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apparent that an enormous amount of animosity existed among Buffalo’s five major
resettlement agencies. The antagonistic relationships between the agencies festered
to the point of complete disregard for one another. The positive work we had
captured in our short film seemed to be one of the few high points coming out of
Buffalo’s citywide resettlement program. In addition to the School Impact Program
we encountered another positive player in the resettlement community, Hope
Refugee Services; which is an organization formed to help support the
overwhelming number of refugees being dumped from the resettlement service
system after their guaranteed six month term of support from the agencies has
expired. This fact is often flatly denied by the agencies, but it is nonetheless a
tangible reality for refugees. The rapid rate at which refugees are expected to
acclimate to a new culture and social system is alarming. In order to better
understand the drastic changes that refugees are faced with, imagine that they need
to be taught how to use basic amenities from simple light switches to ATM
machines. Given the enormous amount of work that must be done in a
comparatively infinitesimal time period, it would seem that the agencies could best
serve the refugee community by working together to meet a nearly impossible
deadline. The contentious undertones definitely piqued interest, as it was
completely contrary to the tone of the short film we had just completed. It seemed
that our first short film had painted a positive, but superficial, look at resettlement;
which is something that I find the local press to be doing even presently. In response
to the naively optimistic tone of many previous attempts to portray the resettlement
agencies, Brett and I felt that it was time to head in a different, more realistic,
direction.
With all the information that we were receiving from Donna, and others
involved in the administrative aspects of refugee resettlement, including the
agencies themselves, advocate groups, educational services etcetera, we began to
wonder if our next project should be a feature length film intended to present the
realities of refugee resettlement in Buffalo. The gravity of this proposition was
daunting. Making a feature length film that could potentially present the agencies
that we had been working so closely with in a negative light required careful
consideration. We were forced to sincerely consider the following question: should
we dig deeper and take this examination of a social issue to the next level, even
though it means potentially offending those who had been so welcoming to us? As
time passed it became painfully obvious that we could not turn our backs and shy
away from an issue that needed to be exposed. In the spring of 2008 pre‐production
began on the film that would later be known as Nickel City Smiler.
The experience that we gained by making the short film was extremely
helpful, as was the trusting relationship that we had already developed with Donna.
Looking back I can now say that had it not been for Donna’s complete honesty and
openness about the issue of resettlement, this film could never have been made.
Donna’s forthright mentality was a major asset to the project as it helped us draw
out the lineaments of the concerns that we subsequently learned about from the
refugees themselves during production.
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It was time now to meet with the other major resettlement agencies, in order
to gain a better understanding of the procedures through which refugees are meant
to be supported during resettlement. We were welcomed by three of the four
agencies, but ignored outright by those whom we contacted at Catholic Charities of
Buffalo. We made repeated efforts to engage members of Catholic Charities of
Buffalo, and were met with disinterest each time. In our meetings with the agencies
that were willing to work with us, we encountered typical bureaucratic jargon
including claims that the system is a well‐oiled machine; articles written in the local
newspapers that cheered about how adept Buffalo, New York was at handling
refugee resettlement backed these claims. The red flags went up. This was
contradicting the information coming from Donna at Journey’s End, which suggested
that the trouble with resettlement in Buffalo was: no agency oversight, no agency
accountability. Our next move had become clear. We had to move away from the
comfort of agency offices and into the field where refugees were being resettled, in
order to see first‐hand the tragic conditions refugees are continuing to endure to
this day.
By this time Brett and I had established a pretty good rapport with Donna’s
staff of academic coaches, who are English‐speaking refugees from different parts of
the world. For a while we played with the idea of following several members of her
team, until we realized how difficult that would be because there were only two of
us on the project at that time. So the decision was made to focus on the largest
refugee population coming into the city in the summer of 2009, the Karen people of
Burma. In order to experience what the Karen people were going through, we
turned our attention to the man who could help us navigate through the prime areas
of Karen refugee resettlement on Buffalo’s West Side. That man was Smiler Greely.
Smiler is an incredible human being. He is an inspiration, a true leader, a
friend and to me a hero. To be in a foreign land where you don’t thoroughly
understand the customs, and yet continue, against all adversity, to fight for your
family’s safety, and your peoples’ well‐being is truly remarkable and something that
everyone can learn from. He does this for no other reason than because it is right. It
hurts me deeply to think that the Karen people have been through so much in their
own country and then continue to struggle here in ours, especially because all that
they want is to live peacefully. Smiler undertakes the responsibilities and burdens of
his community’s needs. It is a ridiculous notion that Smiler, who was forced to flee
from Burma, can point to the inadequacies and inefficiencies of the American
resettlement program in Buffalo, better than the agencies’ administrators
themselves. Smiler does have a unique perspective on the job that the agencies do,
since he is himself a refugee, but the glaring gaps that he encounters in the agencies’
performance are absurd. What is even more absurd is that because he can speak
English, because he is one of the few who can speak out, he is shunned by the
resettlement administrators because he forces them to face the harsh reality of their
own inadequacy. Smiler is one of the few who can fight for the refugees and their
needs. It should, however, be the job of the citizens of the host country to service
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these remarkable individuals in any way that we can, rather than one of their own
community members being taxed to the hilt to identify and remedy the concerns of
his already traumatized community. Refugees should be able to come to this country
and live comfortably out of harm’s way; they have already faced so much that they
should not have to “start at the very back of the end of the line.” In addition they
should not have to call on one of their own community members to absorb the
responsibilities of the agencies; the agencies should simply fulfill their tasks by
virtue of the commitments that they made to the refugees who they promised to
properly resettle, and to the government contracts that they have agreed to fulfill.
Production was a transformative experience for me. Brett and I decided that
we needed to bring in another team member because of the overwhelming
workload. Also the benefit of an additional camera was indispensible because there
were so many revealing moments to capture. Tim Gera was brought on board to
man the steady cam rig and aid Brett in two camera shoot scenarios. There we were,
the three of us, about to embark on a six‐month adventure that brought us to
Buffalo’s West Side almost every single day. An area that most people avoid, and we
were going there with expensive equipment at all hours of the day, and night. At
times I think we all felt like doctors on call. It seemed like everyday I would be in
contact for a daily report with either Donna or Smiler. Then we would scramble
down to the West Side hoping not to miss a thing. The experience was invaluable.
Smiler and his family were so patient with us during this process, and for that I owe
them a great deal of gratitude. We had cameras in their faces for hours on end, in
both times of happiness and frustration they hung in there, allowing us to complete
this project. The Karen community was always welcoming to us and we were happy
to be embraced by them in friendship, and to embrace the aspects of their culture
that they happily shared with us. The Karen community in Buffalo is an amazing
group of people. In all the time that we spent filming around them we were never
made to feel uncomfortable, or like outsiders. We were invited to weddings, wrist
tying celebrations, the Karen New Year, fishing on the Buffalo River, and there were
also many times that we would gather simply as friends. Our team especially
bonded with Smiler’s three wonderful children Moe Joe, Poe Kwa Si, and Poe Mu Si.
When you consider that Buffalo is known as the “City of Good Neighbors”
these are the people that define that slogan. Then there is the flip side, the way in
which we treat them, the sad reality. Smiler took us around neighborhoods that
looked bombed out, we were taken into Karen households where nails came up
through the bathroom floor, ceilings leaked, cockroaches and ants scurried about,
windows and doors wouldn’t lock and single flat apartments housed two families,
sixteen people in total, that didn’t even speak the same language. In addition, rent
checks went missing and finding employment was nearly impossible. One Karen
woman shared with us her story of waking one night to find a knife‐wielding man
climbing through her first floor bedroom window, thankfully the incident yielded no
permanent consequences. It was appalling. And keep in mind that we were only
introduced to a small fraction of the roughly ten thousand refugees that are here in
our city from all over the world. The fact that we were working so closely with the
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Karen community had me asking myself: what is life like for the Sudanese, the
Somali, the Iraqis or the Bhutanese, etcetera? For the life of me, I couldn’t figure out
why so many refugees were being brought to an area that cannot support them, or
sustain an acceptable quality of family life. How the people who are responsible for
resettling these refugees can lay their heads on their pillows each night and fall
asleep, knowing the fear and worry felt by those who they have claimed
responsibility for, is beyond me. The agency employees are the people who are
supposed to be providing assistance for the refugees. The onus is on the agency
workers to proactively supply refugees with the necessary information and
accommodations for a quality life, but rather than fulfill these responsibilities the
agencies sadly capitalize upon the fact that the refugee people don’t know any
better, and thus substandard conditions are commonplace. If the agencies can’t
handle these responsibilities they must be big enough to ask for assistance so that
others can be made aware of the gaps in service and respond accordingly. This is
why this film is so important; it is meant to expose the negligible aspects of the
resettlement process to those who aren’t yet aware of it, and to those who may help
remedy the situation. I feel particularly connected to this objective because in 2008 I
was one of those who was living in ignorance of the conditions foisted upon
refugees. My team and I are filmmakers, and this film is our contribution to an ailing
resettlement program. My hope is that this film will bring together those individuals
or groups who can really make a difference in the way refugees are resettled in this
state and in this country.
Among all of the unsettling sights, and disappointment in the agencies, and
the general disarray, and disfunction, Smiler and the Karen people cling to hope,
with undying voracity. I want the message of this film, Nickel City Smiler, to be one of
hope and perseverance. The Karen people taught me the value of hope, and mutual
caring and support of one another, and I want this film to be an extension of those
lessons. I want this film to teach others what Smiler has taught me.
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