How do breast cancer survivors recapture their sense of self after what writer Caitlin Kiernan calls “a marathon” of surgeries, chemotherapy and other treatments? The Nipple Artist, the second in a series of collaborations with The New York Times, is the story of Kiernan’s path to feeling whole again after a cancer diagnosis, chemotherapy, double mastectomy and reconstructive surgeries.
“You get the mastectomy and everyone makes a big deal out of it, but it’s just the half-way point of reconstruction.” — Caitlin Kiernan, subject of the documentary The Nipple Artist
“The worst part about being diagnosed with breast cancer is knowing that I had the knowledge to prevent it.” — Joanna Rudnick, director and subject of In the Family.
When Chicago filmmaker Joanna Rudnick tested positive for the “breast cancer gene” at age 27, she knew the information could save her life. And she knew she was not only confronting mortality at an early age, but also was going to have to make heart-wrenching decisions about the life that lay ahead of her.
“It isn’t a traditional cancer story, even though it is about cancer.” — New York Times journalist Kassie Bracken
Kassie Bracken and Taige Jensen took viewers on a road trip to tell the story of Caitlin Kiernan and a tattoo artist, Vinnie Myers in Finksburg, Maryland, who inks only one thing – nipples.
Watch The Men of Atalissa, the first documentary collaboration between POV and The New York Times.
In 2013, the Equal Employment Opportunity Commission won a $240-million judgment against Henry’s Turkey Service, which had exploited a group of men with intellectual disability who lived and worked together in a small town in Iowa. The Men of Atalissa explains what happened to these men in a documentary and in an article based on court and company documents, archived photographs and first-time interviews.
Images: Caitlin Kiernan (Photo: Kelli Acciardo), Joanna Rudnick (Photo: Aaron Wickenden), Kassie Bracken (Photo: The New York Times)