The first in Ingmar Bergman's so-called Silence-of-God trilogy, a series that got better, more cinematic, as it went (Winter Light, The Silence). This one, about faith and madness and all that, is a lot of talk -- high-quality talk, but highly theatrical talk. And the literal play-within-the-film is appropriately enough the high point. With Harriet Andersson. (1961) — Duncan Shepherd
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