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“I never thought of that distinction between rational and mystical for the two artists, but it makes a little sense,” said the Rev. John W. O’Malley, an editor of “The Jesuits and the Arts, ” “If you look at Bernini’s little church of Sant’Andrea al Quirinale, which he did for the Jesuits, and the spire Borromini did for the Sapienza — or even his little church of San Carlo alle Quattro Fontane — the former does seem more rational and the latter more mystical.” He would not, however, “want to go out too far on that limb.”

But Mr. Green is comfortable on a theatrical tightrope: Having left Brooklyn for Europe in (“I’ve been told Williamsburg is very fashionable now”), he has worked as an educator and director reviving French Baroque theater, a style that involves actors speaking directly to their audience. The same technique is used in “La Sapienza,” though the camera, rather than fellow actors, serves as “partner” to the cast — that is, the performers have to relate to the camera, not one another, which can be awkward but rewarding.

“It’s difficult, but all the difficulty helps to create emotion, not the contrary,” said Ms. Prot Landman, who has appeared in many of Mr. Green’s films, including “Les Pont Des Arts” () and “Le Monde Vivant” (). She spoke from Paris, where she is a Lacanian analyst, saying that architecture was less interesting to her than the characters but that Mr. Green’s technique is affecting. “The atmosphere on the set is always very ominous,” she said and laughed. “All the worldly pronouncements are very profound.”

Different locations have reputations for making filmmakers tear their hair out. In India, the sight of a film camera can draw a crowd of in mere moments. Beijing and Washington are known for stifling bureaucracies. Although “La Sapienza” is a saturated with Italian monuments to Italian genius, the film was made in spite of Italian bureaucracy, specifically that of the Catholic Church, and a city where Mr. Green said filming was “combat.”

“ ‘La Sapienza’ had the smallest budget of all my films, and none of them have been big,” he said. “But the fees for shooting the churches and Roman monuments were exorbitant.” Then there’s the paperwork.

“When we shot the cupola on the inside, we realized that the lens we had wasn’t really wide enough,” he said. “There was another lens, but we could only get it the next day from Milano. So we asked the priest if we could come back the next day just for 15 minutes to make one shot. He said we’d have to do all the documents again. And pay another 7, euros.”

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