The “Silence of God” trilogy or “Faith trilogy” is an informal title of the film trilogy which consists of Through a Glass Darkly (Såsom i en spegel, 1961), Winter Light (Nattvardsgästerna, 1963) and The Silence (Tystnaden, 1963) directed by Ingmar Bergman. Movie critics, and even Ingmar Bergman himself, question the applicability of the term trilogy to the three films mentioned, but they also point out the undeniable connection between them, which is one of the aspects the paper deals with. As one of the leading motifs of Bergman’s work, religion is highlighted here, that is, the search for God and his “silence”. The paper deals with the analysis of religious motifs in the mentioned films, autobiographical elements and motifs that bind the films into a trilogy. Silence appears as a frequent motif in Bergman’s films, which develops and reflects God’s silence in Winter Light, Through a Glass Darkly and The Silence. His private life and complex relationship with religion reflected on the screen, questioning the existence of God through complex characters and their emotional isolation. In Through a Glass Darkly, the mentally unstable protagonist Karin awaits God’s revelation as a proof of his existence. Through the character of the priest in Winter Light the perspective changes, emphasizing the priest’s loss of faith in the existence of God and the meaning of life. The Silence emphasizes God’s absence, which is reflected in the boy not understanding the world around him, which is a metaphor for the chaos of the godless world. The paper analyses the way in which silence is reflected in the narrative aspect of the film, but also to a large extent in the cinematic language.