“For some filmgoers, hearing a movie described as ‘faith-based’ makes it a must-see. But just as many others find the term a turn-off,” suggests Associated Press entertainment writer Sandy Cohen.
Sandy observes that to reach beyond the Christian audience, “. . . some producers of faith-based films are ramping up the star power and tamping down the evangelical messages.”
Hollywood has a long history of biblical blockbusters—classic films like Cecil B. DeMille’s The Ten Commandments, Mel Gibson’s 2004 epic drama, The Passion of the Christ, and the current Affirm release, Risen, to name just a few.
But some of the more recent faith-based films seek to engage more than just the Christian audience. The Blindside, starring Oscar-winner Sandra Bullock, Paramount’s Captive, released last fall with David Oyelowo, and the 2016 spring release Miracles from Heaven, starring Jennifer Garner and Queen Latifah, are all based on true stories and include a faith perspective, but are not “religious.”
“Audiences flock to well-made films that deal with stories of optimism and renewal, even if there is suffering and there is loss,” says Maria Elena de las Carreras, a professor of international cinema at the UCLA School of Theater, Film and Television. “That was true in classic Hollywood cinema and it’s true today.”
Professor de las Carreras recognizes that marketing a film as faith-based means nothing if the content doesn’t speak to religious audiences. “It’s a label, but it’s not magical. It doesn’t guarantee box-office turnout,” she said, citing Paramount’s 2014 big-budget biblical film, Noah.
Alex Ben Block (BlockandTackle.biz) shares Ms. de las Carreras’ view, noting that producers who want to see their faith-based fare appeal to broader audiences can’t obscure religious themes too much “because as soon as you try to make it more viable, you alienate the core audience.”
The challenge for filmmakers seeking to reach the “faith market” is finding the balance between engaging nonbelieving moviegoers without alienating believers.