The relationship between Franco censorship and audio-visual translation has been recently a matter of interest concerning different Spanish authors such as Rosa Rabadán (Traducción y censura ingles español: 1939-1985) or Maria del Camino Gutiérrez Lanza (Traducción y censura de textos cinematográficos en la España de Franco: doblaje y subtitulado ingles-español 1936-1975), who focus their studies either on the political context and the censorship laws, or on different films under this period. Bearing this in mind, it seemed interesting to the author to approach the Franco censorship, not in isolated productions and authors, but in the works of one individual director, to analyse the evolution of the censorship in his films released in Spain. This article, then, focuses on the figure of Ingmar Bergman and his most famous film The Seventh Seal although it makes a few references to his other later productions, Wild Strawberries and Through a Glass Darkly, from a micro-textual and macro-textual point of view, some of the most spectacular changes made in the script under the supervision of Carlos Staehlin, a priest in charge of “translating” and censoring all the Bergman’s films in Spain.