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`Mark Le Fanu's superb book offers a relaxed and urbane account of some of the great European film directors, focusing on the degree to which their work reflects a commitment to, obsession with or sometimes mere puzzlement over the religious: or more particularly with the possibility of catching transcendence in the transitory, in relationships, in the frame of the film. This is writing which wears its learning lightly, which allows a lifetime of watching films and of teaching them gently to inform descriptions that are always engaging, persistently judicious, sometimes personal and invariably revealing of why a film really matters - why it delights or shocks (sometimes both at once), and above all why it demands our attention. Believing in Film is a marvellous attempt, just as in the last scene of Tarkovsky's Mirror (the film with which the book closes) to articulate the transfiguration of temporality into sublimity.' - Gerard Loughlin, Professor of Theology, Durham University, author of Alien Sex: The Body and Desire in Cinema and Theology, `Mark Le Fanu addresses a fraught question here: why, in this secular era, do so many European directors draw upon religion in their feature films? The approach taken is unapologetically auteurist , but at the same time acknowledges the collective nature of the cinematic enterprise. Le Fanu presents his book as an essay, not as a comprehensive treatment of religion and European cinema. This essay is both erudite and engaging: newcomers to European cinema and aficionados alike will learn much from the author's analyses. And it does not shy away from the personal: La Fanu often reveals his own aesthetic judgments, and - in the Afterword - briefly and lightly situates this work in his own spiritual journey. I look forward to many hours of happy viewing, with this wonderful book as my guide.' - Adele Reinhartz, Professor of Religious Studies, University of Ottawa, author of The Bible and Cinema: An Introduction and Jesus of Hollywood

`Mark Le Fanu's superb book offers a relaxed and urbane account of some of the great European film directors, focusing on the degree to which their work reflects a commitment to, obsession with or sometimes mere puzzlement over the religious: or more particularly with the possibility of catching transcendence in the transitory, in relationships, in the frame of the film. This is writing which wears its learning lightly, which allows a lifetime of watching films and of teaching them gently to inform descriptions that are always engaging, persistently judicious, sometimes personal and invariably revealing of why a film really matters - why it delights or shocks (sometimes both at once), and above all why it demands our attention. Believing in Film is a marvellous attempt, just as in the last scene of Tarkovsky's Mirror (the film with which the book closes) to articulate the transfiguration of temporality into sublimity.' - Gerard Loughlin, Professor of Theology, Durham University, author of Alien Sex: The Body and Desire in Cinema and Theology

Style is one of the remarkable aspects of Dr Le Fanu's book. It is beautifully free from useless technicalities and the clotted syntax that afflicts many academic writers ... [he has] an ability to convey the thrust of a film that the reader might not have seen, and an openness to directors' ideas that might be uncongenial to the author ... gripping. * The Telegraph * In this superb cultural history, Mark Le Fanu considers the religious impulse that distinguishes so much European cinema in its golden age from the second world war up to the 1980s ... Le Fanu's wonderful survey, with its aphoristic grace and erudition lightly worn, is from start to finish a delight to read. * The Spectator * [There is] much of fascination here for a general reader ... [This book] has not only stimulated and educated, but led to my seeking out copies of four films that Le Fanu makes seem especially fascinating: Bergman's Winter Light, Bunuel's Simon of the Desert, Zanussi's Spirala and Dreyer's Day of Wrath. These purchases prove this deeply-felt treatise also to be a work of evangelism. * The Tablet * Clearly and thoughtfully written, with thankfully no film studies jargon, this book is one to be truly grateful for. * Catholic Herald * The substance of Believing in Film is an auteurist, country-by-country survey of the place of the Christian religion among the output of European directors during the golden age of art cinema from the time of World War II up to the end of the 1980s. The author's criterion for inclusion is not that a film should exhibit, or that a director should possess, faith, but only that the film should evidence a sympathy for Christianity, even when criticising its pretensions. One of the pleasures of tourism for the thinking traveller is the appreciation of different European countries' attitudes to what remains of their religion, and that pleasure is replicated and enhanced in this book by the author's understated and sensitive discussion of favourite films, based on a life-time of critical discernment. For Le Fanu is one of those nuanced and thoughtful people who, while rejecting extremes, is not embarrassed to confess that he remains open to the 'still-living truths of Christianity'. * Standpoint Magazine * Are we all still Christian? Or at least unwilling to stop framing the world in a Christian narrative? Mark Le Fanu's compelling and courageous account of European cinema is an invitation to think of films in a different light, and to explore a marvellous repertoire of films everyone ought to know better. From Pavel Lungin's The Island to Ermanno Olmi's The Fiances, Andrzej Wajda's Ashes and Diamonds to Bunuel's Nazarin, Le Fanu ably shows how saturated our Western imagination is in such notions as sin and sacrifice, predestination and redemption, how frequently, even in the work of atheists and agnostics, epiphanies, miracles and resurrections occur. Proceeding from one engaging account to another, Believing in Film is a timely reminder of the resilience and narrative fertility of our Christian tradition. * Tim Parks, novelist and Associate Professor of English, IULM University, Milan, Italy * Mark Le Fanu, who endured a Catholic upbringing during the 1950s in the north of Scotland , has written a lucid and highly readable study of the role of religion - and specifically, the Christian religion - in classic European cinema. His thesis, unfashionable in certain quarters but cogently argued, that religion and culture are inseparable, takes in not only expected figures like Bresson and Tarkovsky, but also such avowed atheists as the Spanish director Luis Bunuel. Altogether this book offers many penetrating insights, such as will rivet the attention - and challenge the assumptions - of even the most irreligious reader. * Philip Kemp, film critic and Lecturer in the Department of Journalism, University of Leicester, UK *

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Mark Le Fanu is a well-known writer on film who has contributed regular pieces and columns to Sight and Sound, Positif and the East-West Review. A former Lecturer in English at the University of Cambridge, he was from 1993-2008 Director of Studies in Film History at the European Film College in Ebeltoft, Denmark. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Kraszna-Krausz Book Award.

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