Spiritual art must always be in flux because it represents a greater mystery, also in flux: man’s relationship to the Holy. In each age the spectator grasps for that special form, that spot on the spectrum, whether in art, religion, or philosophy, which can take him to the greater mystery. At present, no film style can perform this crucial task as well as the transcendental style, no films as well as the films of Ozu and Bresson. To expect or settle for any less from film in general, or the films of Ozu and Bresson in particular, underestimates and demeans them. Transcendental style can take a viewer through the trials of experience to the expression of the Transcendent; it can return him to experience from a calm region untouched by the vagaries of emotion or personality. Transcendental style can bring us nearer to that silence, that invisible image, in which the parallel lines of religion and art meet and interpenetrate.