God on the Street


TYPE
: Documentary Feature
GENRE: Documentary
STATUS: Post-Production

LOGLINE

How do we describe our relationship with something we can’t see? Meet a diverse group of strangers willing to share their personal—and often surprising—ideas about spirituality.

SYNOPSIS

God on the Street invites the audience into a series of intimate conversations with subjects who share their understanding of God with honesty, humor, and vulnerability. It is a dialogue about spirituality that is free of politics, religious dogma, expert opinions, and celebrity grandstanding. It unfolds on park benches, not pews. The movie features a diverse group of subjects including taxi drivers, students, cops, drug dealers, artists, atheists, and mothers holding babies. The stories they tell are moving, funny, and humbling. Car accidents. Concerts. Heartbreak. Surfing. DMT.

Through these stories, the audience is reminded that the mundane can be transcendent.

The film is a catalyst for change in perspective, open-mindedness, and growth.

 

ARTISTIC STATEMENT

The driving force behind God on the Street is the act of seeking. As one of my subjects said, “I could talk to just about anyone about spirituality…but who has time to do that, to stop people in their tracks?” This is the service I provide as a filmmaker.

The film is not just about faith; it is an act of faith. As a first-time documentary filmmaker, I allow myself to be led to my subjects. I have filmed in various locations including New York, San Francisco, Detroit, Kansas City, and the deep woods of Tennessee. Interviews occur through serendipity. I ask for guidance in coffee shops and on cold calls. At first, they are strangers, but in the course of a conversation, subjects share their innermost feelings. It is a privilege to ask and to listen as they articulate—or struggle to articulate—something so intensely personal.

Many documentaries today are about social issues. I believe that spirituality is a social issue. Locally and globally, wars are being fought in the name of God. Yet people are thirsty to talk about this topic and to connect with others in a way that is free of agendas and judgment.

God on the Street may be controversial, but it is not divisive. The movie is neither a pitch nor a send up. It does not aim to promote one view over another. This is not a conversion experience; at the end, the audience will have a different perspective, but it will not be determined by me.

On-the-street shooting gives me the opportunity to show how the act of being present can be transformative. In urban areas, I capture the graffiti, the signs of the street. In rural areas, I've interviewed livestock, and revived my love of rack focus in fields of wheat. There is so much beauty in the mundane. I am influenced by street style and artists from Bill Cunningham to Antonioni.

God on the Street is more than a movie, it is a way of seeing the world.
 

KEY CREW

Lisa Jan Fogel - Director

 

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