Film can be considered a language because it is a system of codes which the director uses in communication with the viewer. In the analysis of a director’s film language it is necessary to analyze both the theme of the work and its form. In Ingmar Bergman’s films, two features stand out. The first is the ambiguity of his film expression which is achieved by using different symbols with given connotations. Another feature is Bergman’s analysis of the communication potential of different media and types of art, which deepens the meaning of his works. He often repeats characteristic techniques and symbols, which connects his entire oeuvre. The analysis of his literary works, screenplays and diaries gives an insight into the way that his films are made. He emphasizes the importance of studying the atmosphere and creates a set of motives while improvising many parts in collaboration with a group of actors. He often problematized communication and religion, which culminated in the 1960s when he made The silence of God trilogy. In these films he also creates a special relationship to sound and emphasizes the relation between sound motifs, music and silence, which he equates with the absence of God's presence.