The Charitable Sisterhood of the Second Trinity Victory Church

Based on a play of the same name by Bo Wilson, and adapted for the screen/directed by Dean Owen-Sims, The Charitable Sisterhood of the Second Trinity Victory Church finds a heartfelt balance between comedic jibing and poignant drama through its sensational cast of five extraordinary female characters.

Set in 1977 in small-town Virginia, we witness a charity drive run by a selection of devoted women. Because of a raging storm, only a few local gals have responded to the flyers put out by Bea (Kathryn Hartman), whose standing as the local pastor’s wife and penchant for exactness make her a formidable leader in the group. We meet first, however, Lorraine (Libby Fleming), a mother of nine (yes, nine! And one hamster) and newcomer Tina (Helen Kim), who strike up a friendly banter until the rest of the characters arrive. Later, we meet the fabulously dressed Janet (Kelly Monisse) and the timid Riley (Dilroop Khangura), completing the gaggle of do-gooders.

As the friendly banter and pointed gossiping progress, more than a few secrets get unearthed, with potentially life-changing ramifications.

The duration of the feature-length film is set in one room, creating a palpably theatrical atmosphere. Characters enter and leave sporadically, but the ensemble is generally in front of several cameras throughout. This setup may immediately distress some viewers, but for those of us who like contained drama and stories, director Dean Owen-Sims proves to be a safe pair of hands.

Razor-sharp, rapid dialogue and fantastic performances all round make this a compelling watch. This gets elevated by the powerful themes that are subtly explored, such as religion, friendship, sexism, and power plays disguised as altruism. Whilst it would be tempting (and ironic) for viewers to dismiss the film’s content of ladies nattering, they would miss the stark realizations coalescing about society and, in particular, the female experience.

An incredible aesthetic is created in The Charitable Sisterhood of the Second Trinity Victory Church, which feels undoubtedly seventies. Recreating this period transports the viewer into a bygone time where these characters were both pinnacles of the community and also shackled to its injustice, without feeling soaked in argumentative division that a modern tale could have fallen foul of.

Minor criticism lies in the slightly underwhelming plot that, whilst moving, fails to leave a lasting impression, and the moments where the dialogue (whilst generally great) feels contrived - a difficult pothole to miss when adapting a play and filming it like one. That being said, faith-based comedy dramas are rare, and this one is a powerful statement on the capacity for movies (and theatre) to deliver something potent without feeling the need to “thrill” us every other frame with a new location or arbitrary distraction. 

We get treated to an intelligent, vigorous dissection of womanhood and morality in Western society that is as compelling as it is tragically relevant in 2026.