This film really gets to the point, huh? In fact, it kind of starts out at the point, doesn’t it? And it stays right there. And finishes, right there, on the point. Like a French-Greek tragedy? Stylized sparseness. Anticipates Bresson. I guess you really don’t have to have sound. Dreyer is able to maintain exquisite dramatic tension through a relentless degree of craft—intercutting, stopping—uncompromising close-ups with actors who could convince (and blink) very fast. We can all learn a lot from Dreyer. I was moved, and I would hardly call myself religious.