His ability to adapt emotions into moving images is blindingly beautiful and unbelievably surreal. In all of this, Malick asks us to watch rather than listen. Empty rooms illuminated by the morning sun tell of a house once lived in, a passion once shared herds of horses and buffalo roaming the plains advise us that harmony is obtained through our acceptance of the universe a newly built church and the lonely priest that wanders through its aisles paint a sorrowful portrait of a man falling out of faith with his partner, his creator. Malick celebrates mortality instead of fearing it and that’s what makes his filmmaking so cathartic. His obsession with capturing the fragility of life isn’t a sad one. With each effort he burrows deeper and deeper into his subconscious, the next story more personal than the last, the marks of a man desperate to get ahold of his memories before they disappear. Smaller in scale to The Tree of Life ’s universal expanses, but more ambitious in intimacy, To the Wonder is Terrence Malick at his most vulnerable.
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