Terrence Malick
Just as A Hidden Life is arguably Malick’s most directly religious film, it is also his most directly political and possibly by virtue of its subject matter, least poetic.
Terrence Malick’s The Hidden Life tells the story of the religious Austrian Franz Jägerstätter, who refused to fight for the Nazis in World War II.
Alistair Ryder and Gus Edgar report from Cannes Film Festival with reviews of Gaspar Noé’s latest, Robert Eggers’ The Lighthouse and more.
In this 2nd report, Alex Lines reviews 12 of the films he saw at Melbourne International Film Festival; among them Lemon, Lucky and Insyriated.
Song to Song brings A-game performances and an was aesthetically pleasing look, all that was missing was a strong plot.
Terrence Malick’s latest, Song To Song, has been gestating for years, and no one knows exactly what it’s about… yet. This is the trailer.
The last weekend of TIFF is always bittersweet. On one hand, you’re so sleep-deprived from all the morning/early afternoon screenings that it’s a relief to have your regular schedule back in order. And yet, on the other, you feel a pang in your gut as you realize that the end is nigh – no more friendly crowds, no more of those endearingly irritating commercials, no more Q&As and no more beautiful venues to ogle over as you wait for the programmer to introduce the film (and TIFF has some cool programmers, too).
You may not have signed up for that astronomy 101 course, but you probably should get yourself to a movie theater for Terrence Malick’s universe epic Voyage of Time. It’s sure to be gorgeous, and whatever crazy dinosaur behavior Malick puts on the screen will (allegedly) be explained by Brad Pitt or Cate Blanchett, depending on which version you choose. That, or they’ll ramble existentially about the passage of time, because Malick doesn’t need your narrative clarity.
Knight of Cups is the first film I’ve ever seen where over a third of the audience left the theatre during the film. Without any context, I understand why this film would drive people to leave the movie. The film is an artistic montage, never stopping to deliver any linear narrative or dialogue scenes, continuing its visual poetry.
I’m going to put up a disclaimer. It won’t really do anything but it’ll explain my intentions for the rest of this trailer discussion. Movies, as an art form, are subjective to the individuals who watch them.