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the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.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.
泪点和笑点拿捏得当，虽然我不适应这个画风，感觉和我预想不一样（强调一下，不是说画风丑，其实画风蛮好的，但是我不太好这口），但我已经有这成见，我还是要说，这一部值得五分。
TV版的逻辑可比这个严谨多了。剧场版拍的什么狗屎玩意。
ps: 无意间发现片尾曲《白月花红》是李宏毅唱的，这算是追星成功吧，好听
刚刚看完，画质剧情特效都很一般，人物画的也不太一样，感觉制作的有点草率，多少知道了一些当年的事情，就打个一般的分吧。其实说实话看完这个有点消磨我对月红的喜爱。
为了情怀给个四星吧 虽然感觉画风变了好多 而且按照剧版最后续缘的东方月初已经很老了 既然黑狐只是分身 富贵也杀了它 那么权潼后面发生的故事应该是面对真正的黑狐才让富贵转世的 猜测下一部就是权潼2了
曾经澳洲留学在法国餐厅里打工，经理总是说“不要让客人等待”催单，服务生也有一个gay，水吧也是气氛活跃组，洗碗也有一个黑人，一切都很像，回忆回来了。
终于把我的月红拉出来溜溜了，死而无憾了，满足，嗝~
没有什么亮点，画质差到飞起，故事结构感官很差，就连人物性格都没有体现，电影中说明原动漫情节的地方还不如直接照搬，画的都什么鬼。要说唯一吸引我的，就是想看看自己的猜测对不对，结果，不仅全中，而且没有任何意料之外的片段，只有完全不符合期待的各方面因素，真的是，还是看漫画吧！
很棒，一镜到底，看着很爽，演员情绪很到位。其中对话比较密集掺杂地方口音，开始以为是在看法语剧，多个故事同时进展，考验编剧的能力，不过有些感觉会拓展的部分没有展开，感觉没看够，
好看呀 虽然我现在都不怎么看漫画了 但我这个还是得看看 但我感觉漫画比较好 但画风还是不错的
在另一个时空，红红和东方月初过着幸福的生活吧。
看弹幕有一句“虚空之泪明明是东方给红红的礼物啊，为什么那些转世用的那么顺手”给搞破防了，东方一生真的都为了红红而拼搏啊
😭
(感觉画面一点都不精致🙈)
搞不懂涂山红红的那脸都被画成什么样了，在TV里面她不好看吗？到了剧场版成了那样。还有衣服也从红色变成粉色。还是TV里的红红好看。
紧凑，真实，人人活在高压之下 ╮( •́ω•̀ )╭
emmmm他俩是爱情吗？看了还不如不看，糟心
狐妖小红娘是我最爱看的动漫，我对这个评分不理解
东方月初墓碑前的糖葫芦，这一幕堪称整部剧的高光了，没有炫酷打斗，有的只是细水长流的感动。
一镜到底很牛逼！主角的演技也很赞。从不同利益角度出发的人聚集在一个餐厅，平静和崩溃只是在那一瞬间
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