National Religious Broadcasters Convention Highlights: Where Faith, Film, and Real Conversations Meet

I recently attended the National Religious Broadcasters Convention in Nashville, and like every year, it delivered on what it does best—bringing together people who are actually doing the work in faith-based media.

NRB isn’t just panels and programming. It’s conversations. It’s access. It’s the place where you can meet a distributor in the morning, a filmmaker in the afternoon, and end the night talking story, faith, and strategy with people who understand all three.

This year, one thing stood out more than anything else: Faith-based storytelling isn’t just growing—it’s getting sharper.

There’s a noticeable shift happening in how films are getting made—and more importantly, how they’re getting seen.

Platforms like The Faith Channel, led by John Stewart, are stepping in to create real opportunities for filmmakers who don’t want to get locked into long-term deals with little return.

At the same time, Hope Studios, under Kevin Christenson, is thinking globally in a way most studios aren’t—pulling stories from around the world instead of just exporting U.S.-based content.

And companies like Great American Media, with leadership from Kaitlyn Haubrich, continue to prove there’s a large audience that wants consistent, values-driven content—and knows where to find it.

On the distribution side, conversations with teams at Hawk Hill Pictures, BMG Global, Vision Video, and Collide Media Group were some of the most practical of the week.

And they all agreed: if you’re not thinking about distribution early, you’re already behind.
Budgets need to include post. Deliverables matter. Timelines matter. And “this film is for everyone” is still one of the fastest ways to confuse your audience—and your distributor.

Throughout NRB, I had the opportunity to spend time with Daniel Roebuck, Bill McAdams Jr., Kevin Sorbo, and Tyler Sansom—artists and filmmakers with very different backgrounds, but a similar perspective on storytelling.

Roebuck spoke about the importance of reaching audiences beyond “the choir,” encouraging filmmakers to create stories that connect with people outside church walls. He also challenged writers to focus on strong endings and unpredictable dialogue that keeps audiences engaged.

McAdams Jr. shared how personal loss shaped his approach to storytelling, explaining that audiences connect most deeply with honesty, grief, forgiveness, and humanity. His message was clear: faith works best in film when it’s revealed naturally through authentic storytelling.
Sorbo discussed the opportunities and challenges AI is bringing into filmmaking while encouraging actors and filmmakers to keep learning every part of the craft. He emphasized the importance of refusing to let fear dictate your career or creative choices.

Sansom spoke about the life-changing impact faith-based films can have when ministry and storytelling work together. Through First Capital Films, he continues creating projects designed not only to entertain audiences, but to genuinely change lives.

One of my favorite parts of NRB is seeing who’s not just talking about projects—but actually making them happen.

At just 20 years old, Lauren Havel is already doing what many filmmakers spend decades trying to do—making and distributing feature films. She started young, kept creating, and didn’t wait for permission to begin.

JD DeWitt is leaning into stories that don’t wrap everything up neatly—and that’s exactly why they connect.

Ashley Elaine is building the kinds of projects she wants to see instead of waiting for them to show up.

And Cheryl McKay continues to expand across platforms—film, television, books—without waiting on one lane to open.

None of these women followed the exact same path—and that’s encouraging.

Some of the most useful takeaways didn’t come from stages—they came from workshops and side conversations.

In the pitching workshop, Catherine Clinch broke things down in a way that a lot of writers need to hear: “If you can’t clearly explain your story, no one’s going to connect to it. Pitching isn’t about selling. It’s about clarity.”

On a completely different side of the process, Ed Grifenhagen is doing something you don’t hear about often—serving as a “set shepherd.” He provides spiritual support on film sets. And if you’ve ever been on a set, you know how needed that is.

That same mindset carries into the Christian Film Foundation, which is focused on equipping filmmakers not just creatively, but spiritually.

Because this industry will test both.

If there’s one thing NRB reinforces every year, it’s this: You can’t do this alone.

Organizations like the Hollywood Prayer Network and Influence Women aren’t just “nice to have”—they’re part of what helps people stay grounded, connected, and moving forward.

This industry can get isolating fast. Having people who understand both the creative side and the faith side isn’t a bonus—it’s necessary.

What makes NRB valuable isn’t just access to industry professionals—it’s the reminder that there are other people trying to navigate this space with both excellence and faith intact.
In Hollywood, it’s easy to feel isolated. Everyone is busy. Everyone is building. And sometimes it can feel like you’re carrying your projects, goals, and calling alone.

That’s why spaces like NRB matter.

Over the course of the week, I watched filmmakers encourage one another, distributors openly share advice, writers ask honest questions, and creatives connect in ways that will likely lead to future collaborations. Some of the most important conversations weren’t scheduled at all—they happened in hallways, coffee lines, and late-night conversations after the panels ended.

That kind of community matters more than people realize. Because while talent and strategy are important, relationships are still one of the biggest parts of this industry.

There’s a lot happening in the faith-based industry right now. More platforms. More content. More opportunity. But also more noise. What stood out at NRB wasn’t just who’s creating—it’s how they’re thinking. More intentional. More strategic. More honest. And maybe that’s the shift:

Not just making faith-based content—but making better films. Because at the end of the day, the goal isn’t just to say something. It’s to create something people actually want to watch—and walk away from changed.

Written by: 
Kirstin Leigh
Change Your Story Inc.

For full interviews with actors, screenwriters, directors, and industry leaders—as well as additional insight into what’s happening in faith-based film and media, or to contact Kirstin Leigh—please visit: https://www.kirstinleigh.com/editorial