The Church’s view of cinema has evolved considerably in recent years. The Godlywood phenomenon relates the meeting between these two giants of “soft power”; a story of love and conflict, money and influence. A documentary to watch from this Friday, December 20, 2024 on arte.tv and YouTube.
Since the turn of the 21st century, the very liberal Hollywood has given rise to a parallel phenomenon, initially marginal, but which is gradually gaining momentum: the “ faith-based movies »productions designed for Christian audiences, true “evangelical tracts” that are profitable despite their small budget. An immersive documentary to decipher a rapidly expanding phenomenon.
To trace the history of this current made in Hollywooddirectors Darius Kaufmann and Eytan Jan went to meet its actors. They answer my questions here.
What motivated your investigation?
Following our first feature-length documentary In the warmth of cold years (Ciné+ OCS) on the golden age of Cuban cinema, we were approached by producer Déborah Da Silva who was developing a project with Arte based on the work of teacher-researcher Nathalie Dupont (Godlywood and the religious fact ). We are a duo of directors passionate about cinema, both for the Art and for the mass tool that it represents, and we found this subject fascinating! A year later, here we are with the film available on the Arte.tv platform.
What personal view do you have, after this investigation, on this Christian film industry?
It was difficult to express in 53 minutes the breadth of our gaze. It is a special exercise whatever the subject. Here cinema intertwines with religion, you can imagine the complexity. As sociologists, historians and theologians like Sébastien Fath and Philippe Gonzalez say very well, Christianity is rich in great diversity, it is a real constellation and it is also with this background that we had to synthesize the Christian film industry in the United States. We carried out an important “casting” which allowed us to meet James Duke, a pastor and great film buff who was a real guide for us. His legitimacy as a Christian and cinema professional allowed us to be comfortable with the scope of the subject and its criticism. His words perfectly reflect our vision.
I imagine that you have watched quite a few of these films yourself? What did you get out of it?
Indeed, this cinematic genre already has a fairly rich catalog in very different styles. This represented several dozen hours of our research. From the self-righteous, slightly cheesy film (as Duke mentions), to the downright manipulative propaganda film, we were often shocked, sometimes interested, at times amused. Interested in the spiritual side that is often found at the heart of these films and which is very rarely represented in today’s Hollywood cinema. Amused by the sometimes desirable quality of dialogue or “low budget” special effects. Shocked by extreme, virulent and simplistic remarks towards the Muslim or secular community for example. As James Duke says, “These movies can sometimes distract people from the message of God.”
Were the meetings easy or were there obstacles in your approach?
We had a high-quality welcome from certain figures and specialists in Protestantism in France and we thank them because this dialogue allowed us to better know and anticipate “their cousins in America”. Cousins of great frankness but with an extreme side sometimes different from the movements in France. In the United States, it was more complicated to obtain trust and to make people understand the need for this film… but through sheer willpower, once the dialogue was established, everything was possible. Notably thanks to the Covell family of Hollywood Prayer Network and Professor Terry Lindvall.
Prayer is very present in your film with, in particular, this event near the Oscars ceremony, but also, and more surprisingly, with interviewees who begin their interview by praying.
We were able to see how prayer was omnipresent in the lives and work of our speakers. It therefore seemed right to us not to underrepresent her in our film. Indeed, during each interview, God, Jesus and the Holy Spirit invited themselves into the debate. It was quite natural that this dialogue had to be illustrated, so these prayers took place in the filming process. Sometimes we invited our speakers to pray at the end of the interview (free theme), sometimes they took us from class wanting to pray before anything else. We also wanted to show public prayers, like those at the Oscars ceremony, a very impressive moment, tolerated by the American authorities.
What interpretation should we have regarding this omnipresent prayer?
We have a difference and a richness of opinion in our director duo, the same goes for the spectators. Each spectator has their own interpretation and all the better if it causes debate! Our objective was above all not to make this essential practice invisible in a Christian life.
Why did you choose to leave these prayers and even choose to start with that?
In the life experience of the interviewees, prayer is a starting point for many, if not all, things. It turns out that they prayed for the film, its smooth running, its production and so on. Spontaneously, they took place at the beginning. It is also a way of announcing the subject, the relationship between the Church and cinema, in a less didactic way.
For you, since we are here in the cinema universe, what makes a good film?
As filmmakers, a good film is one that is essential to you and for which you are willing to give up your entire self. It’s a unique feeling. As spectators, it’s very subjective! Everyone has their own criteria but we hope to meet your expectations with this film.
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