Between 1961 and 1963, Ingmar Bergman embarked on three films thematically concerned with man's relationship to God and the futility of spiritual belief. Together, The Faith Trilogy proved a turning point for the director, securing his collaboration with cinematographer Sven Nykvist and exhibiting his mastery for direction.

Through a Glass Darkly (1961): A schizophrenic girl has visions, believing that God's presence is ever closer. However as her descent into madness deepens, she becomes the focal point for the emotions of three men. In challenging the traditional notions of God, Bergman's Academy Award Winning film is a devastating harrowing portrayal of the uneasiness and creeping paranoia of contemporary life.

Winter Light (1962): A susceptible and disillusioned fisherman is urged by his wife to seek solace from his local priest. However the priest is struggling to regain his own belief. Bergman's desire to define man's relationship to God is beautifully played out in the film with stunning character performances and cinematography from the director's favoured collaborator Sven Nykvist.

The Silence (1963): The intimacy of two sisters threatens to destroy them both mentally and physically. Travelling to a foreign city on the brink of war and whose language they do not understand, the setting becomes a metaphor for the relationship between the women. This is a shattering vision of emotional isolation and despair in a claustrophobic spiritual world.