“When I look back, I see how my life was guided to this point by women in Christ,” explained Angela Agnew at the premiere of the documentary “Women in Christ.”
Agnew was raised by an abusive mother, became addicted to drugs and spent time in prison.
Surprisingly, she reflects positively on her time as an inmate: “Just like a toddler who likes to explore and needs to be redirected to stay safe, I have been redirected by my Heavenly Father throughout my life. Just like any parent would do, I found myself placed in a playpen to keep me safe … so I could hear Him.”
Agnew views her past through believing eyes, which is one of the prominent themes of “Women in Christ.” After prison, she started advocating for others in the justice system. Her journey through various churches culminated in joining The Church of Jesus Christ of Latter-day Saints five years ago. She’d been invited to the premiere by Debra Bonner.
In addition to featuring in “Women in Christ,” Bonner also narrates. Best known for her powerful singing, Bonner’s motherly warmth weaves together the film’s five stories. Based on the book “The Not-so-secret Lives of Real Mormon Wives,” “Women in Christ” features four Latter-day Saint women in addition to Bonner: Kerry Owens, who started a nonprofit for hungry children; Esther Jackson-Stowell, the nonprofit a Nigerian chieftain; entrepreneur Fernanda Bӧhme, of Bӧhme fashion brand fame; and Kimberly Dowdell, whose considerable Instagram presence is focused on Down syndrome.
The film’s hot pink theme belies the gravitDown syndromeect matter. “Women in Christ” deals with poverty, abuse, prejudice and health challenges.
Bӧhme cleaned buildings with her parents until midnight after immigrating to Utah from Brazil, while Bonner and her family lived with her bishop after moving out west with $100. Leaving maids and bodyguards in Nigeria, Jackson-Stowell was passed between abusive relatives in California who opposed her baptism and marriage. Owens emptied her family bank account to feed children in New Zealand.
“This film has changed my life,” says the film’s director, Daylen Pollard. “This isn’t a rebuttal to Hulu, reality TV, or other portrayals of Latter-day Saint women. It’s a movement to honor, empower, and properly represent the millions of disciples whose lives are defined by following Jesus Christ.”
Pollard decided to act after local youth confessed they were embarrassed about the way their religion was depicted. Two years ago, Pollard and wife, Kristiana, sold their home to make meaningful films; a year later, they saw an article in the Church News about media distortion and decided to act. While not shying away from the imperfections of other members or leaders, “Women in Christ” models how faith helps women face problems, instead of focusing on faith as the problem.
Films about the church often explore doubt, oppression or politically charged topics, but what about life’s more common problems? Many wonder how to resolve family conflicts, cope with mental and physical health challenges, navigate financial setbacks, or simply find purpose.
“Women in Christ” does more than dispel the image of Latter-day Saint women as handmaids or glamazons; it models how to find healing and renewal amid trauma, mistakes and life’s painful unfairnesses.
For example, when Kimberly Dowdell’s son was born with Down syndrome and a host of life-threatening health issues, she initially despaired.
After seeing the triumphs of otheDown syndromeown syndrome, she looked for ways her son’s condition could be a blessing. Now, her Instagram account allows her son Jack to inspire millions. The stories in “Women in Christ” demonstrate how faith turns challenges into opportunities.
This resonates with Agnew, whose faith in God paved the way for her suffering to help others. Agnew recently moved to Utah to pen her story, hoping to direct others into God’s helping hands — something she says other women have done for her. “I’m not proud of my past, but I’m no longer ashamed,” says Agnew. “My experiences have allowed me to become the awesome woman of Christ that I am today.”
Agnew sings in Bonner’s choir, which features in the film’s final segment. Bonner’s story is arguably the most accessible to a non-Latter-day Saint audience. Her relationship with God began in childhood, and she and husband Harry were Baptist missionaries in Africa. Her Protestant roots led her to found the Unity Gospel Choir, which has given traditional gospel music a new home in the church.
Bonner’s story notwithstanding, “Women in Christ” may struggle to land with a non-Latter-day Saint audience. By keeping explicit references to the institutional church to a minimum, the film’s creators laudably strive to connect with a broader Christian audience.
But the film’s subjects seem to believe they are addressing other members, often relying on Latter-day Saint-specific references, like “wards” and “bishops.” This creates an implicit understanding between the film’s subjects and its Latter-day Saint audience that may seem cryptic to outsiders.
Pollard wants to make a second film, but confesses that funds are still wanting. The second installment would include Ganel-Lyn Condie, a mental health advocate who lost her sister to suicide. Condie also has lupus, a disease my own mother battled for 30 years. Lupus gets little airtime, so I imagine my mom would have been heartened by Condie’s experience. I hope to hear her story.
Those wanting to see the film can visit womeninchrist.com for updates about streaming options.
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