1947年卡尔·西奥多·德莱叶执导的《丹麦小村教堂》，以近乎人类学田野调查的冷静姿态，记录一座乡村教堂在四季轮转中的仪式与日常。适合对宗教建筑美学、欧洲艺术电影叙事实验感兴趣的观众，尤其推荐给迷恋塔可夫斯基或布列松风格的人。没有激烈的冲突，整部片子像一幅被时间漂白的老照片，镜头缓缓掠过教堂的木纹长椅、斑驳的壁画，以及石墙上悄然移动的光影。影片就用大量特写捕捉牧师翻看账本时的皱眉、老农在教堂长椅上抠手指的小动作，把一个集体决策背后的私心、信念和妥协都摊开来。德莱叶把一切减到了最少——固定机位下只有教堂内外几个朴素场景，演员的表演几乎像静物，连村民进入教堂时脱帽的动作都慢得像仪式。牧师的儿子（Ib Koch-Olsen 饰）带着少年独有的好奇，在教堂的暗角与阁楼间摸索，试图找出钟声沉寂的真正缘由。

The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

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