'A Questão da Fé' cycle

Paul Schrader chose the following epigraph for his book Transcendental Style in Film: “Religion and art / are parallel lines / that intersect only at infinity, / and meet in God,” by the Dutch theologian Gerardus van der Leeuw. This cycle emerged following the release of the film Sundays.
Faith, which may or may not be a matter of religion, has always carried with it questions and doubts, acceptance or denial (Oliveira asked in his reflections on Word and Utopia: “Are there no converted atheists? And believers who have lost their faith?” — he who often quoted Régio and his “believing without believing”; in Bresson’s Pickpocket, Michel says: “I believed in God for three minutes,” and the director, who was Catholic, remarked that “few people can say they believed in God for that long”).
We selected a dozen films, all by great filmmakers, all masterpieces, from different eras and cinematic traditions (though many others could have been added), which, through different paths that ultimately intersect, approach these questions. These questions are posed by directors who openly embraced their religiosity, such as Bresson or Rossellini, or, conversely, Buñuel, who, having received a religious education in childhood, described himself as “an atheist, thank God” (and in whose work religion was always strongly present, with films that were banned and the director himself condemned to prison and excommunicated). Works of austerity and asceticism, such as those of these two filmmakers, or Dreyer, Oliveira, and Olmi; others, baroque in style, such as Verhoeven’s film — and both kinds would ultimately provoke scandal.
To conclude (or begin again): is cinema not itself an act of “revelation”, something akin to a miracle, which we witness together in a theater, where, as in the miracle of Ordet, time is suspended, and we, the spectators, with a certain degree of innocence, travel strange paths in search of its “truth”? — Medeia Filmes