Trailer
Why watch this film?
Do You Believe is a religious movie with a prestigious cast that includes Mira Sorvino, Delroy Lindo, Sean Astin, and Ted McGinley, among others. Its story delves into reflections on the power and scope of faith, stemming from the palpable passion of a street Christian preacher. It's not the kind of movie that will convert non-believers, but it will certainly reaffirm the faith of those who share these beliefs.
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Plot summary
A dozen different souls – all moving in different directions, all longing for something more. As their lives unexpectedly intersect, they each are about to discover there is power in the Cross of Christ… even if they don't yet believe it. When a local pastor is shaken to the core by the visible faith of an old street-corner preacher, he is reminded that true belief always requires action. His response ignites a faith-fueled journey that powerfully impacts everyone it touches in ways that only God could orchestrate. More than a movie, it's a question we all must answer in our lifetimes: Do You Believe?
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From the same director
The Case for Christ
"The Case for Christ" is a compelling film based on a true story that explores one man's journey to find the truth about Christianity. Directed by Jon Gunn, the movie follows Lee Strobel, an investigative journalist and atheist who sets out to disprove the existence of God after his wife converts to Christianity. The film is well-acted, with strong performances from Mike Vogel as Strobel and Erika Christensen as his wife. The pacing is steady, and the story is engaging, keeping the audience invested in Strobel's journey. While some may find the film to be preachy or overly sentimental, it ultimately succeeds in presenting a thought-provoking exploration of faith and reason. The movie is a must-watch for anyone interested in the intersection of religion and journalism, and it is a powerful reminder that sometimes the most important discoveries are the ones we make about ourselves. Overall, "The Case for Christ" is a well-crafted and thought-provoking film that is sure to leave a lasting impression on viewers.
Drama
On Fire
In this drama based on real events, a family man must protect his pregnant wife and child amid devastating forest fires. Amid the chaos, every second is crucial in the battle for survival against the relentless force of nature.
Fatum
A compulsive gambler returns to the betting house determined to recover everything he lost after receiving a promising tip. However, another armed player invades the premises, triggering an event that will change his life forever.
Raspberries with Mustard
Meeri Ehrlich, 13 years old has three problems. First: She is in love - with the wrong person - and has butterflies in her tummy. Second: Her mother passed away and she misses her a lot. Third: her father - owner of a funeral home - is looking for a new partner. But Meeri has something that is only hers, something very special - she can fly.
Underdog
In its effort to raise awareness about the precarious social reality of certain sectors of the population, Mexican cinema tends to fall into miserabilism (or so-called "poverty porn"), whether in documentaries or fiction. The quest of Mexican cinema for new creative and narrative horizons is ongoing, and in the case of Underdog (Correr para vivir), director and co-writer Gerardo Dorantes opts for what, in its conventions, is an action and crime thriller extrapolated to the context of the Rarámuri (or Tarahumara) indigenous people of northern Mexico, famous for their running tradition (and their extraordinary talent for it). The plot follows two brothers: Omero (Vladimir Rivera), who dreams of being a runner; and Capó (Manuel Cruz Vivas), who is more talented but also troubled. Both are dragged into a life of service to the drug trade when Capó, in an attempt to provide for his pregnant girlfriend, fails in a cocaine delivery. To be honest, it's a good attempt to steer Mexican cinema towards other directions that are not the typical exploitation of social dramas or anthropological documentaries. However, the film ends up falling into the same vices, representing Rarámuri culture from a superficial and idealized exoticism, creating entertainment from a real social context with little sensitivity.
