>>> EXPLOSIONS IN UKRAINE, EVEN SURVIVING KIDNAPPINGS IN IRAQ AND LIBYA.

PHOTOJOURNALIST LYNSEY ADDARIO HAS SPENT MORE THAN TWO DECADES DOCUMENTING.

NOW SHE'S THE FOCUS OF A NEW FILM, "LOVE + WAR," WHICH CHRONICLES THE STRUGGLE OF BALANCING FAMILY LIFE WITH TRIPS TO THE FRONT LINES.

HERE'S PART OF THE TRAILER.

>> LYNSEY HAS A VERY DISTINCT ABILITY TO MAKE MEMORABLE IMAGES, BUT ALSO TO BE ABLE TO GO OUT AND FIND -- POLICY AND WOMEN'S ISSUES.

BUT THE BEST STORIES ARE IN THE MOST DANGEROUS PLACES.

I HAVE TO CONSTANTLY WEIGH WHAT WILL I RISK -- >> YOU NEVER HUG ME LIKE THAT!

>> LYNSEY ADDARIO AND OSCAR WINNING FILMMAKER JIMMY CHIN JOIN HARI SREENIVASAN TO DISCUSS THE DUTY AND THE DANGER OF BEARING WITNESS TO WAR.

>> BY IANA, THANKS.

JIMMY CHIN, LYNSEY ADDARIO, THANK YOU SO MUCH FOR JOINING US.

IF ANYONE KNOWS OF YOU, THEY PROBABLY KNOW OF YOU FROM YOUR MOVIES WHERE YOU'RE LITERALLY CLIMBING.

EL CAPITAN OR SOMEBODY CLIMBING MOUNT EVEREST.

WHY PICK LYNSEY, AND WHY PICK THIS STORY?

>> WELL, ON A LOT OF LEVELS, THE STAKES ARE EVEN HIGHER WITH THE WORK THAT LYNSEY DOES.

YOU KNOW, I'VE BEEN FOLLOWING LYNSEY'S WORK ALMOST MY ENTIRE CAREER.

--PHOTOGRAPHERS, BUT I THINK WHEN I FIRST STARTED THINKING ABOUT THIS WITH MY CO-DIRECTOR CHI, WE REALLY WANTED A STORY ABOUT NOT JUST AN EXTRAORDINARY CONFLICT PHOTOGRAPHER OR A PHOTOGRAPHER, BUT WHAT IT IS TO LIVE THAT LIFE THE WEIGHT OF THAT RESPONSIBILITY, THE WEIGH OF AND REALLY GIVE A CLEAR PICTURE OF WHAT, YOU KNOW, SOMEONE LIKE THAT'S LIFE IS LIKE.

>> TO HELP OUR AUDIENCE UNDERSTAND THE STORIES THAT YOU HELP BRING TO THE FRONT, YOU'RE USUALLY BEHIND THE LENS.

WHAT IS IT LIKE FOR YOU TO BE ON THE OTHER SIDE?

>> WELL, I MEAN, I HAD BEEN ASKED TO BE THE SUBJECT OF DOCUMENTARIES BEFORE, AND I NEVER FELT LIKE THE TIME WAS RIGHT.

EITHER I DIDN'T FEEL LIKE I WAS IN THE RIGHT PLACE IN MY CAREER OR A LIFE NARRATIVE OF THE DOCUMENTARY.

WHEN CHIN JIMMY APPROACHED ED ME, I HAD HUGE RESPECT FOR THEIR WORK.

IT FELT MORE RIGHT IN THE SENSE IT WAS RIGHT AT THE BEGINNING OF THE FULL-SCALE INVASION OF UKRAINE.

I KNEW I WOULD BE EMBARKING ON A BIG PROJECT.

AND I ALSO HAD COME TO A POINT IN MY CAREER WHERE I HAD SEEN SO MANY DEPICTS OF WAR PHOTOGRAPHERS, BE IT FICTION OR NONFICTION.

THEY WERE ALMOST ALWAYS MEN.

AND SO I JUST FELT LIKE, YOU KNOW, IT'S TIME WE SHOW WHAT IT'S LIKE FOR A WOMAN, A MOTHER, SOMEONE WHO, YOU KNOW, FOR ME WHEN I PACK MY BAGS, I HAVE NO IDEA IF I'LL MAKE IT HOME ALIVE.

AND I THINK THAT IT'S VERY COMPLICATED, BECAUSE I REALLY STRADDLE THESE TWO WORLDS.

>> IT'S FRUSTRATING.

I'M CONSTANTLY TORTURED LIKE I'M NOT IN THE RIGHT PLACE.

BUT I COME BACK.

I FEEL LIKE I SHOULD BE THERE, AND I FEEL LIKE A BAD JOURNALIST BECAUSE I'M NOT.

MY HEAD IS ALWAYS WHERE I'M NOT.

>> AND I FELT LIKE ONCE I ACCEPTED TO DO THIS PROJECT, I KNEW THE DRILL.

I MEAN, I KNEW EXACTLY WHAT, YOU KNOW, WHAT THEY WOULD BE ASKING OF ME.

AND I VERY LUCKILY, THE MAIN PHOTOGRAPHER, CINEMATOGRAPHER WHO SHOT ALL THE HOME SCENES WAS THORSTEN WHO WAS INCREDIBLE TO WORK WITH BECAUSE HE WAS A ONE-MAN BAND.

HE DIDN'T SHOW UP --LIKE DAYS ON END.

AND THAT REALLY WORKED FOR ME, BECAUSE THAT'S THE WAY I WORK.

I FELT COMFORTABLE WITH HIM.

I RESPECTED HIS WORK ETHIC.

I LOVE THE FACT THAT HE WOULD BE LIKE CAN I COME AT 5:00 IN THE MORNING BEFORE YOU WAKE UP?

BECAUSE I LITERALLY DO THE SAME THING TO MY SUBJECTS.

SO HE KIND OF WORKED.

>> JIMMY, WHY START THE MOVIE WHERE YOU DID?

THIS IS JUST DAYS BEFORE THE KIND OF OFFICIAL INVASION OF UKRAINE, AND YOU ALREADY SEE LYNSEY AND HER PARTNER --AND TRYING TO CAPTURE WHAT'S HAPPENING, WHAT'S GOING ON THERE.

>> WE'RE BEING SHELLED.

>> IT WAS IMPORTANT FOR YOU TO KIND OF GET THE AUDIENCE PRIMED FOR HEY, THIS IS WHAT THE FILM'S ABOUT.

>> WE WENT BACK AND FORTH ON WHAT THAT OPENING SCENE WOULD BE, OF COURSE.

I MEAN, THAT'S A COMMON DEBATE WHEN YOU'RE MAKING A FILM.

BUT I THOUGHT THAT IT WAS JUST REAL AND IT WAS, OKAY, WE'RE GOING TO JUST GET RIGHT INTO IT AND SHOW YOU.

OBVIOUSLY, I THINK IT GRABS PEOPLE'S ATTENTION AND SETS THE TONE.

AND I THINK IT'S THE REALITY OF WHAT SHE DOES.

AND I LOVE THAT I WAS A BIG PROPONENT OF OPENING WITH THAT SCENE.

BECAUSE THEN, YOU KNOW, WE THEN JUXTAPOSE IT TO WHEN SHE GOES BACK HOME.

AND I THINK THAT SETS UP THE FILM AND KIND OF THE MAIN --THE CHALLENGE THAT, YOU KNOW, LYNSEY IS FACING THROUGH THIS FILM.

AND IT'S ACTUALLY SOMETHING THAT I'M ALSO VERY FAMILIAR WITH.

I WORK IN VERY HIGH STAKES AND FAIRLY DANGEROUS ENVIRONMENTS.

AND IT'S --IT'S KIND OF A WEIGHT THAT I UNDERSTOOD TO JUST SEE IT RIGHT OFF THE BAT AND KIND OF, YOU KNOW, SET THAT TONE WAS REALLY IMPORTANT.

>> MOMMY IS WORKING, ALFRED.

SHE'S IN ANOTHER COUNTRY, BUT SHE IS GOING TO COME BACK SOON.

>> I WONDER.

THERE ARE THESE SCENES IN THE FILM THAT KIND OF SHOW HOW DIFFICULT IT MUST BE TO HEAR YOUR KIDS SAY HEY, MOMMY, DON'T GO BACK OUT.

WHAT IS THAT CONVERSATION LIKE IN YOUR HEADS WHEN YOU ARE FIGURING OUT HOW TO RELATE THIS VALUE STRUCTURE THAT YOU HAVE, AND WHY IT'S SO IMPORTANT FOR YOU TO DO THE WORK THAT YOU'RE DOING.

I GUESS LYNSEY, LET ME START WITH YOU.

>> OF COURSE, I WRESTLE WITH ALL THE TIME.

AND IT GETS --YOU KNOW, KIDS GO THROUGH PHASES WHERE THEY'RE MORE CLINGY SOMETIMES, AND OTHER TIMES THEY'RE FINE.

THEY UNDERSTAND.

AND I THINK UNFORTUNATELY RIGHT NOW WITH ALFRED, MY 6-YEAR-OLD, IT'S EVERY SINGLE DAY.

DO YOU HAVE TO LEAVE?

HOW LONG DO YOU HAVE TO GO?

WHY DO YOU HAVE TO GO?

THE OTHER DAY HE ASKED, DID YOU JUST COME FROM A WAR ZONE?

I MEAN, HE IS 6.

THERE IS DEFINITELY --THERE IS A LOT.

BUT THIS IS A PART OF WHO I AM.

THIS IS MY JOB.

I LOVE WHAT I DO.

IT'S A PRIVILEGE WHAT I DO.

AND IT'S VERY IMPORTANT.

AND I WILL ALWAYS COME HOME.

AND I THINK THAT IT'S IMPORTANT FOR ME TO EXPRESS THAT IT'S A POSITIVE THING, YOU KNOW.

I DON'T WANT IT TO SEEM NEGATIVE THAT I'M GOING OFF TO WORK, BECAUSE I DO LOVE WHAT I DO.

THERE AREN'T THAT MANY PEOPLE WHO FEEL THE GREAT SORT OF PASSION AND PRIVILEGE FOR WHAT -- >> YEAH, JIMMY?

>> ONE OF MY FAVORITE QUOTES IN THE FILM WHEN LYNSEY SAYS "KIDS ARE SO MUCH HARDER THAN WAR. "

I LITERALLY --MINE ISN'T WAR, BUT MINE MIGHT BE CLIMBING THE NORTH FACE OF EVEREST OR SOMETHING LIKE THAT.

KIDS ARE SO MUCH HARDER THAN CLIMBING --BUT WHAT LYNSEY SAYS REALLY STRIKES A NOTE FOR ME BECAUSE -- SAY AND THE SAME THING AND HAVE THE SAME INTENTION BEHIND HOW I TALK TO MY KIDS ABOUT IT, BECAUSE WE ARE MODELING WHAT I BELIEVE IS A GOOD WAY TO APPROACH LIFE.

YOU'RE LUCKY TO FIND YOUR CALLING.

YOU'RE LUCKY TO FIND SOMETHING THAT HAS MEANING AND GIVES YOU AND LIKE THIS IS WHAT I WANT TO DO.

THIS IS IMPORTANT TO ME.

IT HAS AN IMPACT ON THE WORLD, A POSITIVE IMPACT ON THE WORLD.

AND I WANT MY KIDS TO LIVE THAT WAY.

I WANT MY CHILDREN TO FIND SOMETHING TO BE PASSIONATE ABOUT SOMETHING, AND TO CARE ABOUT SOMETHING.

AND IF I CAN MODEL THAT AND SAY HEY, LOOK, I WILL ALWAYS LOVE YOU.

I WILL LOVE YOU TODAY.

I LOVE YOU TOMORROW, WHETHER I'M HERE OR, THIS IS IMPORTANT WORK FOR ME.

>> LYNSEY, ONE OF THE STORIES THAT IS PROFILED IN THE FILM AS WELL IS A WOMAN IN SIERRA LEONE THAT YOU TOOK A PHOTO OF, AND YOU KIND OF GOT A LITTLE INVOLVED IN AS A REPORTER.

THIS IS EARLIER IN YOUR CAREER.

AND LATER IN THE FILM WE SEE THERE MAYBE WAS A PAYOFF THAT YOU DIDN'T KNOW ABOUT.

TELL US A LITTLE BIT ABOUT WAS IT MAMA SISAY?

>> IN 2009 I WAS NAMED A McARCHER FELLOW.

AND I WAS BLESSED WITH THAT GRANT.

AND I STARTED RESEARCHING A MATERNAL DEATH WAS AT EXTRAORDINARY RATES AT THAT POINT.

IT WAS 2010.

MORE THAN 500,000 WOMEN A YEAR WERE DYING IN CHILDBIRTH.

AND SIERRA LEONED A ONE OF THE HIGHEST NUMBERS OF WOMEN DYING IN CHILDBIRTH.

AND SO I WENT THERE, AND I WENT TO THE PROVINCE WHERE THERE WERE VERY FEW ROADS.

THERE WAS ONE DOCTOR IN THE ENTIRE PROVINCE.

AND I WENT TO THE MATERNITY WARD WHERE MATERNAL DEATHS WERE VERY HIGH.

AND AS I WALKED IN, I MET MAMA, AND THE FIRST BABY SHE DELIVERED IN HER VILLAGE, AND THE SECOND BABY WOULDN'T COME OUT.

AND SO HER SISTER, WHO WAS A MIDWIFE, SENT AN AMBULANCE FOR HER.

TO GET TO THAT AMBULANCE, SHE HAD TO TAKE A CANOE ACROSS THE RIVER AND THEN AN AMBULANCE FOR SIX HOURS IN ORDER TO GET TO THE NEAREST HOSPITAL.

AND SO I MET, HE AND WE TALKED FOR ABOUT AN HOUR, AND THEN SHE FINALLY DELIVERED THE SECOND BABY.

AND SHE WAS BLEEDING A LOT.

AND I --AND YOU CAN HEAR ME SAYING "SHE'S BLEEDING, IS THAT NORMAL? "

AND THE MIDWIVES WERE KIND OF MOPPING UP THE BLOOD.

AND I SAID IS THERE A DOCTOR?

AND THEY SAID THERE IS ONE DOCTOR IN THE WHOLE PROVINCE, BUT HE IS IN SURGERY.

AND I PUT MY CAMERAS DOWN, AND I RAN TO THE SURGICAL WARD AND LITERALLY PUT ON SCRUBS AND WENT INTO THE SURGICAL WARD AND SAID, YOU KNOW, I THINK THERE IS A WOMAN DYING.

AND HE JUST LOOKED AT ME LIKE OBVIOUSLY I'M BUSY.

AND SO I RAN UP AND BRING HER TO HIM.

HER BLOOD PRESSURE WAS 60 OVER 40, I THINK.

AND BY THE TIME HE CAME OUT OF SURGERY, SHE DIED.

AND THAT STORY WAS PUBLISHED ACROSS EIGHT PAGES IN "TIME" MAGAZINE.

AND THEN A YEAR LATER I GOT A MESSAGE FROM A BOARD MEMBER AT MARK, AND SAID CAN I PLEASE MEET WITH YOU.

HE SAID, YOU KNOW, WHEN WE SAW YOUR CITY TO OF MAMA SISAY, WE DISTRIBUTED A COPY OF "TIME" MAGAZINE ON CORPORATE RESPONSIBILITY.

THEY DECIDED UNANIMOUSLY TO START MERCK FOR MOTHERS AND PUT $500 MILLION ASIDE TO FIGHT MATERNAL DEATH.

AND IT'S NOT EXCLUSIVELY BECAUSE OF THAT STORY, BUT CERTAINLY I THINK THE VISUALS AND THE STORY ONE WOMAN WHO SENSELESSLY DIED IN CHILDBIRTH WHO COULD HAVE BEEN PREVENTED REALLY KIND OF SPOKE TO THEM.

AND I THINK THAT THAT IS THE IMPORTANCE OF JOURNALISM AND OF --WE ALL STRIVE FOR WHEN WE COVER THESE HUMAN STORIES.

>> IF MAMA SISAY IS AN EXAMPLE OF SOMETHING THAT KIND OF FULFILLS YOUR SOUL AND RECOMMITS YOU TO PHOTO JOURNALISM, I'VE GOT TO ASK ALSO ABOUT LIBYA AND WHERE YOU AND OTHER COLLEAGUES WERE KIDNAPPED AND HELD FOR SIX DAYS.

>> NO WORD FROM FOUR "NEW YORK TIMES" JOURNALIST.

LYNSEY ADDARIO IS AMONG THE MISSING.

>> WE DIDN'T KNOW IF THEY WERE LIVE OR THEY WERE DEAD.

>> FOR SIX DAYS.

>> YOU KNOW, WHAT DID THAT DO TO YOU WHEN YOU CAME OUT OF THAT?

DID YOU THINK MAYBE THIS ISN'T FOR ME?

>> LIBYA WAS BRUTAL.

I MEAN, LIBYA, IT WAS ME, TYLER HICKS, ANTHONY SHADID AND FARRELL FOR "THE NEW YORK TIMES. "

WE WERE HELD FOR SIX DAYS.

WE WERE TIED UP, BEATEN UP, BLINDFOLDED, PUNCHED IN THE FACE.

BASICALLY EVERY MAN WHO CAME ACROSS US, WHILE BLINDFOLDED, WHICH IS OBVIOUSLY TERRIFYING.

AND I THINK AT THE END OF THAT, A FEW THINGS HAPPENED.

FIRST OF ALL, I WAS REALLY GRATEFUL THAT WE SURVIVED.

OUR DRIVER DID NOT.

AND I THINK THAT IT'S IMPORTANT TO UNDERSTAND HOW LUCKY WE WERE.

LESS THAN A MONTH LATER, TWO OF MY VERY DEAR FRIENDS AND OUR COLLEAGUES WERE KILLED IN LIBYA.

AND I THINK -- I THINK THERE IS SO MUCH YOU CAN CHALK UP TO LUCK.

THERE IS NO REASON WE SHOULD HAVE LIVED.

SO I THINK --I THINK JUST UNDERSTANDING HOW LUCKY WE WERE, JUST GAVE ME THAT SENSE THAT THERE IS A REASON WHY I'M STILL HERE.

I KNEW THAT I WOULD HAVE TO RENEGOTIATE KIND OF DANGER IN A WAY THAT I WOULDN'T GET KIDNAPPED AGAIN, OF COURSE.

AND THAT I COULDN'T PUT MY FAMILY THROUGH THAT AGAIN.

NOT ONLY BY MICHIGAN HUSBAND.

I DIDN'T HAVE CHILDREN AT THE TIME.

BUT MY PARENTS AND MY SISTERS.

AND I THINK BECAUSE WE DO THIS JOB -- ANYTHING THAT I HAVE TO LIVE WITH.

THAT'S WHY IT'S ALMOST IMPOSSIBLE FOR ME TO WATCH THE FILM, BECAUSE I CAN'T DARE TO WATCH MY FAMILY TALK ABOUT HOW MUCH THEY'VE SUFFERED BECAUSE OF THE DECISIONS I'VE MADE PROFESSIONALLY.

AND THEN I ALSO REALIZE THAT ONE THING THAT REALLY GOT ME THROUGH LIBYA WAS THE FACT --EXTRAORDINARY WOMEN OVER THE YEAR -- OF RAPE AND, YOU KNOW, UNDER THE MOST BRUTAL CIRCUMSTANCES, YET THEY HAD THE COURAGE TO CONTINUE ON.

AND I REALLY THOUGHT OF THEM IN THOSE HORRIFICALLY DARK MOMENTS.

AND THEY HELPED ME GET THROUGH IT.

I THINK THAT'S REALLY IMPORTANT TO HAVE THAT KNOWLEDGE AND EXPERIENCE AND TO BE ABLE TO USE THEIR HUMAN SPIRIT AND RESILIENCE TO HELP ME GET THROUGH.

>> COMMITTED TO PROTECT JOURNALISTS HAS BEEN TRACKING THE NUMBER OF JOURNALISTS AND MEDIA -- WHERE THEY SAID AT LEAST 124 JOURNALISTS AND MEDIA WORKERS WERE KILLED.

AND I GUESS THAT TO ME IS -- IS THERE SOME SORT OF A FUNDAMENTAL SHIFT HERE?

>> ABSOLUTELY.

I MEAN, WHEN WE --WHEN I FIRST STARTED 25 YEARS AGO, I REMEMBER GOING IN TO AFGHANISTAN DURING THE FALL OF THE TALIBAN IN KANDAHAR IN -- WERE VERY CLEARLY IDENTIFIED OURSELVES AS JOURNALISTS AS WELL AS, YOU KNOW -- NOW THAT'S TOTALLY DIFFERENT.

NOT ONLY IS IT KIDNAPPINGS, YOU KNOW, KIDNAPPINGS HAVE BEEN ON THE RISE FOR JOURNALISTS TO HOLD THEM FOR RANSOM, BUT ALSO TARGETING KILLINGS OF JOURNALISTS WHO GOVERNMENTS OR INTERNATIONAL ACTORS WOULD LIKE TO SILENCE.

AND I THINK IT'S -- BECAUSE WE COULD HAVE BEEN EXECUTED AT ANY POINT.

IN FACT, IN THE -- HAD GUNS PUT TO OUR HEADS.

AND I THINK, YOU KNOW, IT'S BECOMING MORE AND MORE ROUTINE.

AND I THINK WE SEE THIS IN GAZA WHERE, YOU KNOW, AT LEAST 200 JOURNALISTS HAVE BEEN KILLED ACCORDING TO THE COMMITTEE TO PROTECT JOURNALISTS.

AND I THINK IT'S -- DOING A SERVICE FOR THE PUBLIC.

>> JIMMY, I WONDER, WHAT DID DOING -- HUGE ARCHIVES OF ALL OF HER WORK.

WHAT --WHAT'S YOUR TAKEAWAY FROM THIS, BOTH AS A PEER AND A COLLEAGUE AND SOMEONE WHO IS KIND OF A FAN, BUT ALSO AS A PARENT WHO ALSO DOES SOME DANGEROUS THINGS?

>> WE MADE THE FILM BECAUSE WE FELT THAT HER WORK IS REALLY IMPORTANT AND EXTRAORDINARY, AND THE STORIES THAT ARE REALLY IMPORTANT TO ME WHERE -- AND, YOU KNOW, WHAT SHE DOES, I THINK VERY MUCH FALLS INTO THAT CATEGORY.

THE FILMS HAVE TO MEAN SOMETHING TO ME BECAUSE WE BLEED FOR THESE FILMS, YOU KNOW.

WE WORK ON THEM FOR YEARS AND YEARS AND YEARS, AND THEY HAVE TO SAY SOMETHING IMPORTANT.

I'M JUST -- >> "LOVE + WAR," IT IS STREAMING NOW ON DISNEY+.

DIRECTOR JIMMY CHIN AND LYNSEY ADDARIO.

>> THANK YOU.