One of the most powerful and profound films about faith ever made, Carl Dreyer's Ordet (which translates to "The Word") turns a Romeo and Juliet story into a passionately spiritual drama of love and acceptance. Young lovers in a rural farming community are kept apart by the religious differences of their parents. But although the parents appear strict and ascetic, Dreyer gives them tender moments of unspoken love and a quiet dignity, revealing them as thinking, feeling people with deep beliefs who need a crisis to make them face their conflicts. They find unexpected guidance from Johannes, a mad young man who believes he is Christ, preaching love and forgiveness in a sad, hoarse voice as he wanders the fields and pads around his sparsely furnished home. "They believe in the miracles I wrought 2,000 years ago," he cries, "but they have no faith in me now. "Dreyer strips his austere vision to essentials: simple dialogue, a quietly gliding camera, and lovely but unadorned images. Windswept fields of grain and stark homes lit by cold light suggest a chilly existence, but Dreyer reveals a rich, if restrained, emotional world that explodes in feeling at the film's climax. It's a moment of utter cinematic simplicity that resonates with pure love and joy and faith. -Sean Axmaker As one of Carl Dreyer's most celebrated forays into the sound film, Ordet deals directly with the spiritual theme first put forth in The Passion of Joan of Arc: personalized faith versus organized religion. Whereas Borgen the farmer believe.

Diary of a Country Priest is the first masterpiece by the great Robert Bresson, a towering and slow-working figure in French cinema. Starkly adapted from a successful novel by Georges Bernanos, the film locks in to the mind of a sickly, ineffective young priest trapped in an unfriendly rural area. Bresson charts the priest's collapse with a series of brief scenes, a minimalist style that makes the slightest touch of a hand or far-off sound of a dog barking seem magnified in importance. (This is a movie that must be watched and listened to-it is not a casual experience. ) Bresson's luminous portrait of faith and worldly humiliations takes on the intensity of a saint's notebook. In the central role is Claude Laydu, one of Bresson's early experiments with non-actors; his sad, open face is often in close-up, lighting our way into a world of private salvation. -Robert Horton.