Audience considerations for an indie project

My friend and filmmaker Sarey Concepción and I got to sit down with Justin Lin — yeah, that Justin Lin, the Fast and Furious guy — but this time he's not racing cars, he's exploring the too-fast-too-furious side of evangelical missions gone to the extreme. His new film Last Days tells the story of John Chau, the young American missionary who was killed trying to bring the gospel to the uncontacted Sentinelese tribe off the coast of India. If you remember, two years ago we screened the documentary about this story at Theology Beer Camp, and this is a totally different angle — a scripted Hollywood film from an outsider to Christianity who read the news story, had the same eye-roll most of us did, and then did what good artists do: made something to understand what he couldn't dismiss. What's remarkable is that Justin took the time to get to know the diversity within evangelicalism, so you get characters ranging from the hardcore adventure missionaries who are basically Carmen San Diego with Bibles, to John's immigrant father wrestling with how his roughest years shaped his son's path, to a parallel storyline with an Indian police officer whose own experience with religion's harm makes her a mirror image of John's conviction. It's a film about faith without being a faith-based film — it doesn't mock John or martyrize him — and it creates this cognitive empathy where you get to sit with the logic that says if people really are going to hell, why wouldn't you risk everything? Sarey and I unpack the father-son dynamics, the theological engine of unreached people groups and unlocking the second coming, those surprisingly sexy Australian missionaries, and why the Voyage of the Dawn Treader might be the most spiritually dangerous book in the Narnia series. We also may have invented the entire backstory of the Presbyterian minister with a Tesla who stole someone's missionary girlfriend, and honestly, Justin should use it for the sequel.

You can WATCH the conversation on YouTube

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