Led by Donna and Reverend W.C. Martin, 22 families from a rural Black church in the small East Texas town of Possum Trot adopt 77 of the most difficult-to-place kids in the foster system and kickstart a movement in the process.
Credits: TheMovieDb.
Film Cast:
- Reverend W.C. Martin: Demetrius Grosse
- Donna Martin: Nika King
- Susan Ramsey: Elizabeth Mitchell
- Terri: Diaana Babnicova
- Marcos: Carlos Aviles
- Chewy: Demián Castro
- Pastor Mark: Joshua Weigel
- Jo-Beth: Sarah Hudson
- Terri’s Mother: Georgia Simmons
- Mercedes: Aria Jennai Pulliam
- Mercedes’ Mother: Nikkita Johnson
- Ms. Nolan: Dayna Beilenson
- Theresa Lathan: Lisha Wheeler
- Glen Lathan: Roscoe Johnson
- Diann: Jillian Reeves
- Joshua: Ellis Hobbs IV
- Tyler: Asher Liam Clay
- Randy: Jackson Abram
- Johnny: Sandra Jarrett
- Renae: Rose Person
- Shanta: Sabina Grace
- Michael: Tristan Shufford
- Ladonna Martin: Kaysi J. Bradley
- Mollie: Rena Canady-Laster
- Princeton Martin: Taj Johnson
- Keiosha: Ava M. Harrison
- Johnnie: Sandra Jarett
- Murtha: Della Golden
Film Crew:
- Music: Sean Philip Johnson
- Writer: Joshua Weigel
- Producer: Rebekah Weigel
- Casting: Tara Feldstein Bennett
- Executive Producer: Letitia Wright
- Executive Producer: Tiffany FitzHenry
- Cinematography: Sean Patrick Kirby
- Editor: David Andalman
- Executive Producer: Don Mandrik
- Casting: Mary Vernieu
- Cinematography: Benji Bakshi
- Casting: Chase Paris
- Set Decoration: Nicholas Urbano
- Key Makeup Artist: Elena Miller
- Set Decoration: Amy McGary
- Line Producer: Alyson Latz
- Key Makeup Artist: Shenelle Mays Smith
- Key Hair Stylist: Kimberly Cutter-Williams
- Co-Executive Producer: John Larimer
- Executive Producer: Joe Knittig
- Art Direction: Gonzalo Cordoba
- Costume Design: Ellen Falguiere
- Co-Executive Producer: Chad Gundersen
- Key Makeup Artist: Shereese Lynn-Cromartie
- Production Design: Debbie DeVilla
- Co-Executive Producer: Chris Juen
- Co-Producer: Elkin Antoniou
- Executive Producer: Nika King
- Producer: Ryan Dennett-Smith
Movie Reviews:
- CinemaSerf: When her aged mother dies, Donna Martin (Nika King) feels like she has lost her best friend and is completely bereft. No consolation from her pastor husband WC (Demetrius Grosse) nor their children can help her with her grief. Then, in an almost Damascene moment, she hears of a young child struggling through the East Texas care system and decides that it’s going to be her calling to help where she can. WC needs quite a bit of convincing as their house is already full, their income limited and their time stretched too – but he agrees to investigate with local child support worker Susan Ramsey (Elizabeth Mitchell). Next thing, they are bringing home some orphans and the congregation at their lively community church are likewise encouraged to do what they can to help these kids. In full swing, there are some seventy-odd children housed amidst this loving but quite financially poor community – and that’s the gist of the rest of the film. How folks cope. Many of these youngsters, of varying ages, don’t have their troubles to seek. Years of neglect and indifference have created demons that test the patience, love and commitment of the well-meaning would-be parents with not just their task at hand, but with their Christian faith. The Martin’s are not immune to these challenges either, especially when they take in Terri (Diaana Babnocova) who retreats into the persona of a cat following a childhood of beatings and abuse, and that in turn manages to readily antagonise their own daughter Ladonna (Kaysi J. Bradley). This is quite an empowering story of just what can be done when there is a will to try and despite there being a paucity of resources these people remain determined that they can and will make a difference, even if it means discomfort and stress for themselves. That’s all well presented by the supporting ensemble cast who support a strong effort from both King and Babnicova that marries well determination, frustration and raw emotion. It also takes a tangential swipe at the priorities of a church perhaps more concerned with edifices than education which, though briefly exhibited, is still quite a potent indictment of attitudes. It’s probably twenty minutes too long, it does meander a little at the start, but as a drama about real people confronting issues that are, quite literally, life and death – it’s worth a watch.