Abstract
The article shows how two successful contemporary Czech films, Forgotten Light and Divided We Fall, work with symbols that have their traditional home in Christology. It concentrates on how Christ?s story, as well as his triple office of Priest, Prophet and King, find expression in a post-secular culture, where people are again open to questions of faith, but are unable to draw on traditions of religious practice directly.
A sketch of what theologians entering into a dialogue with these new forms of religiosity can learn from filmmakers is offered in the conclusion.