'The Man Who Saw the Angel'
Russian director Andrei Tarkovsky opposed any intellectual interpretation of his films, but they were rife with spiritual imagery and signs of his faith.
Print the Legend
The great director John Ford's American pilgrimage included many films informed by his Catholic roots, even though he found biblical stories "pretty dull."
Looking for Something
The films of Krzyzstof Kieslowski are haunted by spiritual imagery, and yet the Polish director never really found grace—or got past "the God of the Old Testament... who ruthlessly demands obedience."
A Happier Audience
Director Leo McCarey (An Affair to Remember, The Bells of St. Mary's) wanted his viewers to leave the theaters with a smile on their faces.
'I Try to Be a Christian'
Orson Welles had a Catholic upbringing and was involved in several projects based on the Bible, but he mostly identified with Shakespeare's Falstaff—a Christ figure 'decorated with vices.'
Though Jewish, longtime director Henry Koster made movies about Christians that are embraced by believers even today—including The Robe, The Bishop's Wife and A Man Called Peter.
The Strong, Silent Type
D. W. Griffith's films—including many silent pictures—often reflected his Christian upbringing and belief in the social gospel.
The Man Behind the Mouse
With Disney's A Christmas Carol opening this week, we're reminded of the man behind the studio, a religious and praying man who oft included biblical themes in his films.
Finding God in Ordinary Life
The great filmmaker Robert Bresson sought to depict truth and goodness in a world where "things are going very badly."
From Ace to the Almighty
Director Tom Shadyac, a Christian best known for his mega-hit Bruce Almighty, has come a long way since Ace Ventura. Here, we take a look at Shadyac's faith and films.
Randall Wallace, the writer of Braveheart and We Were Soldiers, and his films are in the spotlight this weekend at the City of the Angels Film Festival, with the theme of "Heroism: What Price Glory?"
The Master of Darkness
Fritz Lang's divided faith—and mixed cinematic messages—kept audiences guessing till the very end.