Can cinema account for the invisible, the ineffable? Is it possible to stage mystery? How can one access what is, by definition, inaccessible? What are the formal mechanisms employed by cinema to tackle this difficult task? The cinema of the sacred constitutes a novel contribution to the link between cinema and phenomena of the sacred. The essay seeks to elucidate the formal mechanisms of cinema that genuinely represent the sacred, that is, conveying its intrinsic power to the viewer and avoiding trivial illustrations. In essence, the work does not study cinema that deals with the sacred, but rather cinema that stages the sacred. To this end, the book addresses two of the most representative phenomena of the sacred, miracles, and sanctity, and seeks to understand how cinema has represented them through the analysis of certain key works by directors such as Dreyer, Tarkovsky, Bresson, Malick, or Hausner.