As protests at the Dakota Access Pipeline became increasingly heated, images of burning cars and masked men were spattered across mainstream media networks. However, behind the headline, we discovered a pure and singular spiritual camp was committing itself in prayer to save the Standing Rock Sioux Tribe’s only water supply.

“Hope Inside the Fire” is a testament to the power of the Natives Americans’ peaceful prayer, that was not covered by other outlets. It is an exploration of the humble act of looking to something bigger than oneself to change circumstance and the struggle of faith that inherently carries: forgiving when hurt, doing good in the face of evil, and showing love to an enemy.

We were at the protest first and foremost to support the movement and consequently spent the first five days embedding at the Oceti Sakowin Camp. We spent all our time building real relationships with locals and learning about their spiritual experiences from their time at the camp and what it had meant to them. By the time we brought out the camera we were close enough with the subjects that they let us into some of their most intimate moments which were translated brilliantly on screen. Because there was no cell-service at camp and consequently no schedule, we had to extend the production by a day in order to capture everything. However, taking the time to be present with individuals was the only way we were going to see the power of their spiritual practice.

We released the video on March 10th for the Native Nations March on Washington to a great response. The video received a Nowness Premiere and was also covered by a variety of other publications such as Outside Online describing it as "the side to standing rock you didn't see". The video was shared through many of the larger Facebook groups supporting the protest, garnering over 50,000 views, 1,000 shares, and 2,000 likes. For a small band with modest press resources for the launch, we were very happy with the traction it gained. Most importantly, many viewers who were aware of the protest, but unengaged, became moved by the humanity of the affected they witnessed, taking stakes in the people, the place, and the characters.