Oversparse
Back in 1972, right at the time when CCC was coming to life in embryonic form (Deligny's Le Moindre Geste , 1971; Kiarostami's Breaktime , 1972; and soon Akerman's Jeanne Dielman , 1975), Paul Schrader was talking about another particular transversal, transcultural, transgenerational style in world cinema : the Transcendental Style of Dreyer, Ozu and Bresson, which he defines as the only successful kind of "religious film" -- seemingly against the grain of the dominant artfilm trend, in the margin of Modern Cinema (Antonioni, Pasolini, Bergman). Tarkovsky follows right down this path, and should have been included in this interesting thesis about the formalism of film spirituality. And probably certain films of Abbas Kiarostami (whose connection to the divine is as much a stretch as for Ozu). Inside the (broad) CCC extended family , maybe Angelopoulos (many films), Sokurov ( Oriental Elegy among others), Kitano ( Dolls ), Kim Ki-duk ( Spring, Summer, Autumn, Wi...