Awarded the Grand Prix du Jury at the 1996 Cannes Film Festival, Breaking the Waves, by the Danish director Lars von Trier, is proposed by him as ‘a simple love story’, ‘a film about goodness’ and ‘a film about miracles’: ‘a strong mixture of religion, eroticism and possession’. This essay examines how, in the film, the question of the relation between film and religion is raised and handled.

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