This Moving Documentary on a Father-Daughter Dance Shows How Families Are Affected by Incarceration

There are a few things to be expected from a major film festival like Sundance. You have your star-studded indies, foreign discoveries, offbeat thrillers, and perhaps a coming-of-age crowd pleaser or two. And then there are times you come across something truly special, like Daughters, a documentary that made me (and surely many others) ugly cry.

Daughters is an intimate reflection of empathy and forgiveness by first-time filmmaker Natalie Rae and social change advocate and CEO of Girls for A Change, Angela Patton. The documentary follows a group of young girls—Aubrey, Santana, Raziah, and Ja’Ana—and their incarcerated fathers as they prepare for a Daddy Daughter Dance, a program designed to bridge the gap between these dads and their children. As it traces the countdown to the dance, the event itself, and the aftermath, the film captures the transformative process of grief and forgiveness as these families navigate the complex intersection of incarceration and parenthood.

The Daddy Daughter Dance program, which was established in 2008, offers incarcerated fathers a rare opportunity for personal growth and reconciliation. Over a 10-week coaching course focusing on fatherhood and self-discovery, these men are guided towards more than just meaningful change, but also a chance to connect with their daughters and nurture their relationship.

Beyond the personal stories, Daughters highlights broader criminal justice system issues, including the barriers created by the lack of in-person visits in U.S. prisons. This restriction exacerbates the challenges faced by families trying to maintain their bonds.

Daughters explores the capricious nature of trust—how difficult it is to earn and how easily it can be lost. Most importantly, it depicts the coming of age of four girls as they navigate their journey into womanhood without letting their fathers’ decisions define them. The film is intimate in its delivery yet generous in its tender moments.

ELLE.com spoke with Natalie Rae and Angela Patton to delve deeper into the film, which is now streaming on Netflix.

How did this collaboration between the two of you come about?

Natalie Rae: I can’t believe it’s already been over eight years since I came across the powerful work that Angela was doing through a Ted Talk that she had spoken about. At that time, I was doing a lot of work with young women and helping tell young women’s stories. I felt though that there was a lot of like messaging towards young women that was somewhat talking down to them, like, “Be empowered, like be louder, smarter.” When I heard Angela talk about the wisdom of these young girls and their impact on their fathers, I just thought it was the exact kind of story that I wanted to tell.

Angela Patton: I did have some filmmakers reach out to me before Natalie, but what resonated with me during our conversation was her email, which actually centered the girls. Everyone else was interested in access to the jail, wanting to talk to the fathers or the sheriff himself, and didn’t see that the girls were the leaders who came up with this idea [of the Daddy Daughter Dance]. We often silence young girls and don’t even think about the children who are impacted by the criminal justice system.

As you mentioned, Natalie, this process took about eight years. Was that intentional?

Patton: We definitely did not want a big bow tied around the dance, because the problem has not been solved. We wanted to make sure [it was clear] that the complexities of the family unit is something that is long-term. And although the dance is beautiful, it’s something that the girls wanted, everyone did the hard work to participate in the dance, there’s still some work that has to be done afterwards.

Rae: The first couple of years were a lot of Angela and I getting to know each other, doing research and interviews with people who had gone through the program in the past. But when we met those girls, the film really felt like it was beginning. After filming the dance, we also felt that it would be so much more powerful to grow up with these girls and have it be a real coming of age and see how the dance impacts these fathers and daughters long term.

How did you both approach building trust and establishing a relationship with the girls and their families?

Patton: Girls For A Change already has a reputation from doing the work to advance opportunities for Black girls. So, the parents would do their research and feel comfortable with the decision because of our past work. Also, showing up is always the first step in anything. I believe when the family saw how committed we were to this project and using this film as a tool to create change around an issue that was specifically impacting their families and people in their community, they could see how their voices could be the catalyst of change.

I know that when you allow young girls to speak up and feel that they can be a participant, they appreciate you more and want to be a part of that because it’s rare that someone asks children, “How are you feeling about this? What would you like to change?”

Rae: I think it was really important for me to spend enough time with all the girls. Spending some time just like with Aubrey in her room, this is what’s going on for her. Spending some time with Santana, who’s really frustrated in this moment, and feel that anger that she’s going through. Often letting them guide the way on days when we’re hanging out, whether it’s what to film or what to talk about.

Although this documentary focuses on the dynamics between fathers and daughters, it also acknowledges the role of mothers and how their involvement evolved throughout the process. Why was it important to include their perspective?

Patton: It would not be fair or just in this film at all to exclude the mothers. Even though it didn’t lead with them, we have to include them because they are the ones holding it down every day. And it’s important as you tell the daughter’s story that we share the mothers dealing with their own anger or their own hope because that’s a lot to make a decision for someone that she also has to build trust with.

Rae: One of the hardest parts of the process, I think, was not making a full film about the mothers’ stories as well. They are incredible and have gone through so much. So I think being really close with the mothers was critical in the process. They played a really important role, and I love that even if they’re just shorter moments in the film, they’re still so poignant.

I can only imagine the energy shift on the day of the father-daughter dance. What was it like for you both to witness these emotional reunions?

Rae: One of the most intense moments of my life for sure. I was just so moved. I don’t think anything can prepare you for that. And as much as Angela and I spoke and prepared for this moment, Angela was like, “Just trust. It’s there. It’s all going to unfold.” And it did. I think that the film does it justice, but honestly, it was even more powerful in the moment than we could ever translate to anyone.

Patton: Although I’ve seen many of them, I’m always prepared with tissues. They stay in my pocket. And I actually have to excuse myself around the red carpet portion because all the girls get to have their moment. It’s emotional for all that are in the room.

We have seen how the sheriff or the warden shows up and lets their collars loose a little bit. My favorite part is when the correctional officers take a moment and come down to the soul train line with our facilitators. That’s when you think, “Wow, they understand this human connection. They understand the bigger picture and the why.”

Do we have any updates about the young women and their fathers today?

Patton: ​​The families are like any other family, showing up every day and trying to work with what they have. We still have two fathers who are no longer incarcerated. Some fathers who were in the group sessions were not featured in the film but have started their own nonprofits to do work like this. Many fathers, including those no longer incarcerated, are still connected to Chad [Morris, the fatherhood coach]. The girls are steadily growing into their womanhood, making decisions, and thriving.

Angela Patton, Ja’Ana Crudup, Aubrey Smith, Nyla Wright, Santana Stewart, Raziah Lewis, and Natalie Rae at the Daughters premiere during the 2024 Sundance Film Festival.

What do you hope viewers take away from this documentary?

Rae: This film can bring up a lot. I hope that people can receive it and are open to it so that they can relate to it in their own way and come away inspired, wanting to make a change, or wanting to reach out to someone in their family that they’ve not addressed a particular wound with.

Patton: I want it to be an awareness film. Hopefully, so many organizations, specifically those doing youth and family work, criminal justice work, and prison reform work, can use this [film] as a tool to bring about the education that is needed.

This interview has been edited and condensed for clarity.

Christine Jean-Baptiste is a Haitian-Canadian culture writer living in Montréal, Quebec. Her work has appeared on Elle, Vogue, Teen Vogue, Insider, and Nylon, among others. Follow her on Instagram and Twitter (@itsmcjb).