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Questioning the legitimacy of persistent claims that the Holocaust remains 'unrepresentable', this volume seeks to redefine the singular challenges this event presents to filmmakers, suggesting that filmic representations address the Holocaust as much through what they leave unseen - through silences and ellipses - as through what they visualise directly. 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Mirroring this theoretical and cultural turn, cinema across the world is renewing its acquaintance with religion as private practice, public display and political force and exploring overlapping material, spiritual and doctrinal concerns in the new millennium.  This issue probes intersections between contemporary cinema and diverse theoretical, philosophical and theological engagements with religion. It compares cinema’s capacity to present visual expressions of faith, evoke embodied experience and varied modalities of love, correlate earthly and divine realities and inspire belief and doubt with writings on religion and postsecularism. 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