Stephen Mortland’s review published on Letterboxd:
The husband is to love his wife as Christ loved the church and give his life to her. He does not find her lovely, he makes her lovely.
If Knight of Cups investigates the ways man’s restless struggle causes him to miss the meaning all around him, To the Wonder counters that in man’s restless struggle he actually conjures meaning, and that his struggle is in fact meaningful.
A reinterpretation of the Hosea allegory that levels charges not only at the unfaithful, but at the God who would push them to such wandering by withholding himself. Even this, though, is further complicated by the ending, which suggests an inalterable transformation that occurs in the struggle the two have endeavored.
Show us how to seek you. We were made to see you.
I want to keep your name.
Admittedly there were moments during the first half of the film when I was not certain whether it was going to land for me (particularly McAdams storyline). But the second half more than satisfied. An emotional powerhouse.
I was also impressed by the choreography of the actors in the film. Each shot is so brief, but within that frame, the actors are precisely staged and Malick extracts so much from their movements. Olga Kurykenko is especially notable in this regard (and every other regard as she undoubtedly carried the film with her performance). Also a note for Bardem who is terrifically cast here.