By the time he made The Virgin Spring in 1960, Ingmar Bergman – the son of a Lutheran pastor – already recognised that “The God concept had long ago begun to crack...” Bergman followed Spring with Through A Glass Darkly, Winter Light and The Silence, three films that are every bit as portentous and austere as many people believe all his films to be. Loosely slotting together to trace his crumbling faith, Bergman pronounced the films a trilogy, though 30 years later he would write, “Today I see this view as a rationalisation after the fact.”
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