Journalist and author Lee Strobel embarks on a cinematic journey to explore whether miracles still occur in the modern world. Visiting firsthand accounts, scientific investigations, and personal reflections, he examines stories of astonishing healings, divine intervention, and unanswered prayers—challenging skeptics and believers alike to rethink the very nature of the miraculous.
The Case for Miracles is a 2025 documentary film directed by Mani Sandoval that investigates claims of miraculous events in contemporary life. Based on the work of New York Times bestselling author Lee Strobel, the film follows his investigation into the evidence for miracles, framed around theological reflections on Jesus’ birth, death, and resurrection as the foundation of faith. The documentary blends interviews with experts and eyewitnesses, real-life accounts of extraordinary healings, and a thoughtful exploration of unanswered suffering to illuminate the enduring question: are miracles still happening today? The film stars Lee Strobel and features contributors from a range of religious, scientific, and personal backgrounds. Produced by Sandoval Studios and distributed in the United States by Fathom Entertainment, The Case for Miracles runs approximately 1 hour and 47 minutes and opens in select theaters on December 15, 2025, as part of a limited holiday engagement. Through its thoughtful, often intimate conversations and cinematic road-trip-style storytelling across desert highways and spiritual terrain, the documentary invites audiences to weigh the evidence for the miraculous in a world hungry for meaning and wonder.
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Fun Facts
Lee Strobel and director Mani Sandoval literally drive Route 66 in a vintage Ford Bronco, swapping miracle stories between south-western highways and desert pull-offs—think “The Case for Christ” meets “Easy Rider” with Pentecostal gas-stops.
The film never uses a teleprompter; Strobel & Sandoval riff off question cards taped to the dashboard. Early reviews say the “forced-natural” banter feels scripted-on-the-fly, but the Latino/immigrant vs. mainline-Protestant miracle culture-clash sparks genuine laughs.
Every on-screen date-stamp (“Day 1 – Doubt”, “Day 4 – Hope”) is a hand-painted water-colour scanned so pigment bleeds like prayer—tiny nod to the idea that faith soaks deeper than asphalt.