“In the second film version of Kaj Munk's play (the first was by Gustav Molander in 1943), Dreyer reshaped the narrative considerably, removing Johannes as the central focus, and concentrating instead on the figure of Inger. A study of spiritual faith and love, it tells of the death of Inger in childbirth and her resurrection, a miracle that is seen as the result of human love. The measured pace of the film and Dreyer's rejection of conventional mobility in camera handling and editing have led to accusations of theatricality: but his concentrated examination of human emotion is deeply moving. Munk's widow helped plan the location shooting in his home village.”