Synopsis
After falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.
2012 Directed by Terrence Malick
After falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.
Ben Affleck Olga Kurylenko Rachel McAdams Javier Bardem Tatiana Chiline Romina Mondello Tony O'Gans Charles Baker Marshall Bell Casey Williams Jack Hines Paris Always Samaria Folks Jamie Conner Francis Gardner Gregg Elliott Michael Bumpus Lois Boston Danyeil Inman Bobby Davis Horsley Wigi Black Ashley Clark Terry York Darryl Cox William Riddle Russell Vaclaw Kenneth Woodhams Amy Christiansen Brian Christiansen Show All…
爱是神奇, 爱‧穹苍, Amor Pleno, Ime suunas, A la merveille, Mehri to thavma, A Essência do Amor, К чуду, Cudezu naproti, Askin Izleri, 투 더 원더, To the Wonder - Die Wege der Liebe, À la merveille, 通往仙境, Wątpliwości, Aşkın İzleri, Μέχρι το Θαύμα, הפלא, Minunea dragostei, Deberás amar, До чудото, До дива, საოცრებისკენ, 愛是神奇, トゥ・ザ・ワンダー, K zázraku, 愛·穹蒼, รอวันรักลึกสุดใจ
“It's been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home -- only the millions of last moments . . . nothing more. Our history is an aggregate of last moments.”
You'll always divide your audience when you try to give an artistic interpretation of something as mundane as love. There will be those that consider it a pretentious and pompous snooze fest and there will be those that will revel in its beauty and marvel at the craft involved in creating this piece of art. No one is right or wrong there, but I, fortunately, found myself to be part of the latter category.
If I were criticizing it I would be able to avoid rambling in superlatives, but I can't. Malick has once again managed to tune his film to my sensibilities and tastes perfectly. Apart from the stunning cinematography, the beautiful score and wonderfully understated performances there isn't…
88/100
"You shall love, whether you like it or not."
A flowing, ethereal dance, fed through textural landscapes and a vivid rekindling of feeling. You might as well take away my Late-Malick skepticism card because I fell, hook, line and sinker, for every smooth touch and beam of light, radically shown through a ghostly perspective as pure translations of Malick's cinematic mindset wander luminous fields and squishy beaches of endless waves. Not AS revolutionary as some of Malick's previous efforts, but just as passionate, revolting and clutching along with each gesture, kiss, and argument as if it's the last we'll ever see. In particular, a single cut from a gentle current to a wide American heartland vista hit me like a train. A work of trickling genius that reaches for nothing less than obtaining THE essence of a romance on the silver screen. You can't criticize him for trying. Woof, talk about a rewatch paying rich, emotional dividends. Beautiful.
"Love is not only a feeling. Love is a duty. You shall love. Love is a command. And you say, 'I can't command my emotions.' They come and go like clouds. To that, Christ says: 'You shall love.' Whether you like it or not."
Every time I revisit Malick I understand a bit more – of him but also, to my pleasant surprise, of myself. The transient nature of his films are difficult to embrace, a deliberate lack of substantiality that offers little in the way of guidance: you either intuit the emotional grandeur of his images or struggle to put meaning onto ephemera. I still feel that way about much of his work but there is more unlocked with…
How funny that this film should have been widely greeted as Malick lapsing into self-parody when in fact it blows open his filmography, its intimate scale proving that the vastness in Malick's work was never tied to his grandiose shots of Nature and Grace. The Tree of Life pushed the tactile aspect of Malick's cinema into new realms of transcendence, but of course that transcendence was the point, as the director extrapolated out, Joyce-like, from the immediacy of the individual to the cosmic order that contains him.
To the Wonder, by contrast, is a true compartmentalization, a keening search for meaning that is for the first time in Malick's cinema truly contained within its characters. Oh sure, Affleck, Kurylenko, McAdams…
"I've been out walking
I don't do too much talking
These days, these days
These days
I seem to think a lot
About the things
that I forgot to do
And all the times
I had the chance to
"I've stopped my rambling
I don't do too much gambling
These days, these days
These days
I seem to think about
How all the changes
came about my ways
And I wonder if I'd
see another highway
"I had a lover
I don't think I'll risk another
These days, these days
And if I seem to be afraid
To live the life that
I have made in song
It's just that I've
been losing so long
"I've stopped my dreaming
I won't do too much scheming
These days, these days
These days
I sit on corner stones
And count the time
in quarter tones to ten
Please don't confront
me with my failures
I had not forgotten them"
I have whatever midwestern brain disease it is where I have to google what marching band is on screen immediately
"Husbands, love your wives, even as Christ also loved the church, and gave himself for it."
-Ephesians 5:25
Love as a perpetual poem, finding its existence through correspondence, not unrequited, but mutually coexistent, and finding its perpetuity through divinity. The auteur brings a divisive collage from the perspective of an admirer's of God's creation, of marriage as a bonding institution of eternal vows and of love as something only Christ can provide.
"He that loveth not knoweth not God; for God is love."
-1 John 4:8
It is true that great visuals do not necessarily conceive a good story. However, they do conceive a great poem. These are two recognized branches of literature. This montage of wonders, both physical and…
Faith is a Wonder. It is as intangible, as inexplicable and as far away from us as we think it is close, as the place it resides in, our mind. Faith is the foundation on which our lives are laid. We depend on it for support, lean on it for inspiration and constant encouragement through our lives, need it to comfort us in times of sorrow and vexation. We always hope our Faith will carry us forward in life and make our memories eternal and our will strong enough to survive life’s inflictions. We hope that our Faith will eventually deliver us from all our sins and provide us salvation.
Faith differs from person to person. We may have Faith…
"What is this love that loves us?"
in between the frames exists an almost metaphysical presence that makes me painfully aware of my own existence in ways that i didnt know were possible; the blood in my veins, the hairs on my head, the heartbeat in my chest. its a feeling thats both anxiety inducing and joyously new. i want to reach out and touch it, but im afraid it will break. i understand completely how something like this isnt for everyone, but as far as im concerned malick hasnt missed in over 40 years.