Confronting the topic of conversion therapy in a film requires a remarkable amount of delicacy. Within the fictional side of cinema, films like “Boy Erased” and “The Miseducation of Cameron Post,” which both sprouted up in the late-2010s, have done their part to generate an increased awareness of the harmful practice within the culture. However, shockingly, the documentary scene has yet to contribute a triumphant piece of nonfictional filmmaking to the discussion. But now, the wait is over, because Kristine Stolakis’ latest project “Pray Away” is a profoundly moving, heartbreaking examination of the fallout associated with conversion therapy—and it might be the must-watch movie of the year.
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By focusing on the firsthand accounts of the pioneers who catalyzed the “ex-gay” movement in the United States—“Pray Away” hones in on the efforts of Exodus International—Stolakis’ film cuts into the heart of the matter. There is no glossy filter or tiptoeing involved. The documentary aspires to accomplish a single goal, and that is to exhibit the testimonies of individuals attempting to come to terms with their past and the trauma inflicted by people purported to help them.
Simply based on the subject matter, it would not be invalid to assume that a portion of the Christian community will be entirely disinterested in watching “Pray Away.” Traditionally, Christianity and secular documentaries do not cohabitate in a shared environment without impassioned arguments erupting at some point. But “Pray Away” is not “Jesus Camp” 2.0. Instead, Stolakis’ film is an immensely compassionate and understanding analysis of the motivation involved with conversion therapy. Commendably, the director examines the issue from all sides. As with any documentary—socially minded or otherwise—the hearts of the filmmakers are clearly attached to one side of the issue, but “Pray Away” manages to impart its message with a steady, clearheaded tone, as opposed to the argumentative shout as some might expect.
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Although the statements of Yvette Cantu Schneider, Randy Thomas, and John Paulk provide the much-needed historical context and lift the curtain behind the corporatized aspects of conversion therapy—all three are former Exodus International figureheads who have since returned to the LGBTQ+ community—the beating heart of “Pray Away” rests in the hands of Julie Rodgers, who spent close to a decade within the conversion therapy system, both as a resident and faculty member. Impressively, “Pray Away” sidesteps the trap of losing itself within the emotionally detached political sphere by showcasing the haunting aftermath of conversion therapy practices. Rodgers’ admissions of self-hate and self-harm carry an inexpressible amount of weight, and the bravery she displays in order to share her story in the wake of trauma deserves the utmost respect.
Set alongside the documentary’s discussion of the sociopolitical ties between conversion therapy and government legislation, questionable psychology, and overzealous authority figures arrives a subtle portrait of cultural evolution, which is primarily exemplified through the appearances of Jeffery McCall, a self-identified “formerly transgender” person and founder of the “Freedom March,” an ex-gay evangelical Christian organization. As opposed to the efforts of Exodus International, McCall and his associates remove much of the perceived alienation and judgment involved with traditional Christian outreach by adopting a millennial-minded approach to ministry. Above all else, providing McCall with an opportunity to speak showcases Stolakis’ dedication to formulating an inclusive portrait of conversion therapy and its advocates. The director could have easily excised any mention of opposite opinions, and—as with far too many documentaries—transformed an examination of social issues into an agenda piece. This is not the case here.
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At its core, “Pray Away” is a chronicle of pain. It is a candid, unceremonious study of people who have struggled for years with discovering who they are and who God is; and, perhaps most importantly, it is an exploration in the lasting damage caused by misinterpreting Biblical teachings and misunderstanding the Gospel’s message. The boldest step that Stolakis takes with “Pray Away” is her refusal to denigrate the ex-gay movement as the malevolent torture tactics of homophobes, but rather the uneducated, miscalculated practices of people disconnected from the plight of Christians struggling with their sexual identity. In order for change to occur, there must be discourse—that point, regardless of your worldview, is irrefutable—and “Pray Away” possesses the spark and filmmaking aptitude to open up the opportunity for respectful discussion.
Finding flaws in a film of such importance seems trite, but to infer that “Pray Away” is perfect would be a lie. However, apart from a score that occasionally imposes an insincere emotional response, certain talking points from evangelical Christian leaders speaking on homosexuality being—possibly—taken out of context, and the inherent acknowledgment of manipulation and subjectivity that accompany every documentary, “Pray Away” sets out to make an impact, and the film deserves all of the praise that will presumably—deservedly—come its way. [A]
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