Österbybruks kyrka

The church was consecrated in 1735, commissioned by ironworks owner Jan Jacobsen De Geer as a counterpart to the manor's eastern wing. The identity of the architect is unknown. Because it was designed to complement the surrounding manor buildings, the exterior was deliberately given a secular, domestic appearance rather than a conventional ecclesiastical one, with plastered walls forming a rectangular hall and a plain, straight-ended chancel.

The building's Caroline Baroque character is most visible in its shingle-clad roof with two ridge turrets and dormer windows facing each direction, along with tall, symmetrically placed round-arched windows along the side walls. Inside, a green-marbled timber coved ceiling rises over a bright interior, much of whose fittings date from the church's construction and from the early 1760s, when the Grill family acquired the works and began building the present manor house.

Before the ironworks community had this church, Walloon workers had used a simple timber church on the site, while the wider parish also worshipped at Films kyrka. A freestanding wooden bell tower stands across the manor pond, erected in the early eighteenth century; its bells were donated by the De Geer family in 1712 and 1722.

Among the furnishings, the altarpiece by Lorens Gottman is a copy after a work by the French painter Jean Jouvenet, depicting the Deposition of Christ. Two further paintings hang on the chancel's south wall: one thought to be a copy after Rubens showing Christ and the tribute money, and another signed by the Dutch painter Jan Sanders and dated 1551, depicting Isaac blessing Jacob. The wooden font was designed by Cyrillus Johansson and added during a 1954 restoration, along with six metal and Bohemian crystal chandeliers hung above the pews.

The church's ownership passed through private hands for many years before it was given to the then Films församling in 1974. Sources give slightly differing figures for the organ built in 1984 by Johannes Menzel Orgelbyggeri of Härnösand — one describing it as having 31 stops, another 32 — but agree it was among the larger instruments in Uppland and, at the time, the builder's largest work; it replaced an earlier pneumatic organ that had been badly damaged by careless heating in the 1960s.