A statue of a Madonna and Child in a New York kitchen appears in the opening shot of Martin Scorsese’s Who’s Th at Knocking at My Door (1967–9); and the fi nal image of Silence (2016) is of a handmade crucifi x glowing in the fl ames of a crematory fi re in seventeenth-century Japan. It is inarguable that there is a Catholic dimension to Scorsese’s …