Carl Dreyer steps away from his more commonly tread ground and focuses on non-religious, though arguably still spiritual themes in his final film, Gertrud from 1964.
From The Passion of Joan of Arc forward Dreyer's films slowly bend to more still and lengthy shots, which we talked a bit about last week with Ordet. Gertrud is that stillness turned up to 11, or at least 9:56, the length of its longest shot. But still, like Joan, this is a study of faces and emotion.
It's a beautiful film, and it's this week's Lost in Criterion