In 1999, as the war raged in Kosovo, independent producer Caroline Baron tuned into a radio story covering the crisis.
The report explained that the key necessities — food, medicine, and shelter —were being handled by large humanitarian aid agencies, but a big, unresolved problem facing the hundreds of thousands of Kosovar refugees was boredom and hopelessness. Coming from the film industry, this sparked an idea for Caroline: she would bring movies to the camps.
