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the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.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.
画风非常nice尤其是回忆录。但是剧情很普通，前期剧情太过于铺垫后期……打败怪兽，怪兽已人类的悲伤为养料emmm。
美雪喜欢《电锯人》而不是少女漫，她喜欢西村也是阴郁心事重的型儿，爱向美雪坦白了原委，美雪在意的不是爱喜欢西村，不是爱骗她上床，而是爱的道歉不走心。要说爱是得不到西村就去占有他喜欢的美雪吧，可爱第一次把美雪衣服解开，亲的地方不是常见部位，而是美雪每天扎胰岛素的腹部……怪小孩们果然比较可爱～
作间蛮帅的这个角色也很有意思／喜欢美雪这样的人！／山田杏奈的嘴看着好难受啊啊
過於神奇的劇情，本以為是為賦新詞強說愁，沒想到還真有點不一樣的東西
6.5 女二虽然长相普通，笑起来却很温柔可爱
影片几乎没有配乐，情节推进也很慢，前一小段意兴阑珊地看着。认真起来是爱去接近美雪那里，与同龄人割裂的美雪使用社交软件的笨拙让人好不怜爱，才把进度条拉回去投入到故事里。爱的身上，文明社会的心计和原始森林的野性并存着。她“任性而不懂克制”，想到什么下一秒就做了，从来不考虑他人的感受。她的心理问题一直都存在吧，一个人的时候总是那么用力的蹬车，也不是要赶路，像是心里憋着一口气要发泄。在求爱失败以后更是一蹶不振，失眠、起床困难、生活一团乱麻。不知道她的破坏力和她的心理问题孰因孰果，但美雪确确实实改变了她。爱是二人关系中主导的那个，要么拉着美雪走要么追在美雪身后，美雪的被动一目了然。可是美雪就像平静的大海，卷走一波爱的负面情绪，又翻上来一阵不二的浪花，轻轻拍打着，安抚着岸边躁动的她。
但是就我个人观感，故事叙述好慢好慢，而且有种一个电影分了好几集拼凑起来的感觉，前几集就好像在说一些有的没的的事，最后一段才到正片。
确实像年轻女导演会拍出来的电影🎬 片尾曲居然是大森靖子！
故事整体叙述到位，通过几封信件间接表达了主角的内心情感，比国产片只会用旁白陈述的手段高明了许多，导演将这部狗血的影片拍摄的生趣动人，在演员选角方面也是非常独到，山田杏奈很适合演绎本片的病娇女主，男主的颜值不是很耐看，脸部特写有点差强人意，但是侧面看还是可以的。影片的最后让人无法理解，导演貌似没有对男主父亲为何不让他去东京上学这一件事没有进行铺垫，导致故事逻辑性欠佳，有点二丈和尚摸不着头脑。这部影片配乐存在感比较低，氛围感也差点意思，情绪到位时戛然而止，令人猝不及防。
看了，画风很喜欢，但是剧情有点过于简单了些……真的好喜欢日漫做饭，然后围着一起吃饭的场景啊，好温馨
后期剧情有些拉垮，不过整体值得一看。有泪点，画风温馨感也很足！
处处讲悲伤与不幸，却总是透露着希望呀！
打斗场面有点太简略了，虽然说不好展开
温柔女二爱上欺骗自己的病娇女主，是一个人的救赎，也是两个人的觉醒。
每次回忆都很晕，故事一般般吧，和神奇生物的讲解也不多
平平淡淡相互守护的没有血缘的家人，还有一只猫咪，什么都能满足的万事屋，很好很好的妖怪邻居朋友，愿经历苦难的人们都能带着希望重新出发。
儿童剧里有一堆怪物，能做出这种奥运会开幕式我觉得不奇怪了
虽然女主自私又任性 女二的三观跟着五官走 但是大丈夫是爱情啊
呃 稀里糊涂 and 这个封面为什么会选全篇最丑的镜头
日常生活虽然琐碎，却也具有无可比拟的真实的力量。灾难之后，心灵的修复是无法避免的难题，我们只能尽自己所能，去找寻自己，去帮助他人。
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