Ingmar Bergman's The Faith Trilogy

I'd say they're unlike either. Bergman got very expressionistic in the 50s, and The Seventh Seal is the pinnacle of that style. The Virgin Spring ended up being a flop and Bergman thought it was because that style had gone out of fashion (and it rather had; the European art cinema movement spurred by Antonioni and Fellini was on the rise), so for his Faith Trilogy he inaugurated what became known as his "chamber" period. These were films that generally had smaller casts and a much less ostentatious style, that tended to be pretty minimal, but also quite experimental, especially formally. Through a Glass Darkly still has some expressionistic tendencies, but they're dialed down a large degree. Winter Light is probably his first true chamber film, and bears a lot of resemblance to Bresson's Diary of a Country Priest and Dreyer's Ordet (if you've seen either). The Silence is where he starts getting more experimental, and is something a precursor to his masterpiece from that period, Persona. By contrast, Fanny & Alexander is much warmer and more human, for lack of a better word.

Throughout his chamber period Bergman is probably at his coldest, but also at the height of his interest in human psychology and our struggle for meaning. They're extremely stark, austere films. Brilliant, but perhaps a bit harder to love than something like Fanny & Alexander, which, despite its occasional heaviness, can be easily appreciated by just about everyone. I think Bergman made monumental masterpieces in all of these periods, so for me it's just a case of "just as great, but very different." You may or may not like them as much depending on your tolerance for that very 60s European style of artiness.