God on the Street

: Documentary Feature
GENRE: Documentary
STATUS: Post-Production


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.


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.



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.


Lisa Jan Fogel - Director, Producer, Cinematographer

L.J. is a Los Angeles-based filmmaker who marries her production experience with a 15-year career in digital content strategy. Documentary is the perfect form for her as she enjoys the challenge of real-world situations, the intimacy that can take place between strangers, and the adventure of not knowing what the outcome will be. She is interested in elevating the aesthetic of the world as it is, without manipulating the environment or subject except when absolutely necessary. In her former career, she was an Executive Director of Digital Media, establishing brand voice and managing multi-platform campaigns consisting of television, online and live event content. Her teams have won Webby and CableFax awards. She worked at F/X, Yahoo! and SiTV. (Now Fuse TV.)  L.J. graduated Phi Beta Kappa from Vassar College and studied film at NYU. She shot her first films in high school using a VHS-C.


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