To the Wonder by Terrence Malick

To The Wonder by Terrence Malick

After visiting Mont Saint-Michel, Marina (played by Olga Kurylenko) and Neil (played by Ben Affleck) come to Oklahoma, where problems arise. Marina meets a priest and fellow exile, who is struggling with his vocation, while Neil renews his ties with a childhood friend, Jane (played by Rachel McAdams).

To the Wonder is the most Terrence Malick-y out of all the Terrence Malick films I have seen (The Thin Red LineTree of Life thus far). The tranquil characters run around playing with each other or stare angrily at each other to give the silent treatment. Every action, expression or object is an inner feeling, trying to evoke sense memories like a glossy choppy nonsensical Prada perfume commercial. For example, a couple racing through a grass field playing tag evokes one kind of feeling, whereas the same couple embraced looking at each other grimly by a living room window evokes another. People in real life do not behave this way but it doesn’t matter. It’s the overall sum of how everything feels.

The way To the Wonder is told makes it impossible to say anything about the cast or performances. The actors are mere colors being applied on a bigger canvas. Malick’s trademark whispering voice-overs are our only true source to what these characters are feeling.

To go off a tangent for a second, the use of voice-overs is usually frowned upon in screenwriting. Screenwriters are often snotty about this, but Terrence Malick applies them well. Yes, it’s an easy device to telegraph how a character is feeling at any point in the story and that can easily be cheapened. However, god is in the details and one should access thesubtextual use of voice-over in contrast to the supertext. The actors are all taciturn and physically performing their emotions to the point that the voice-over is the dialogue. It’s that combination of choices that creates the ephemeral feeling that we’re seeing inside the character’s souls. So I don’t have a problem with that at all.

The plot summary above is pretty sums up the entire story, but that’s not the point. Malick is solely interested in the human soul, not character or plot. It is a film about how people cyclically seek love and faith, lose them and have to find faith to believe in love again. Priorities shift, desires change, and people are ever-changing. I liked that core message. Malick himself seems to place more hope on faith. I connected more to the love part than the faith part.

I stayed with To the Wonder till around the 90-minute mark out of its 112-minute running time, and then I started to tune out from fatigue of having to feel so deeply into an empty canvas. The more you want to walk into Malick’s abstract world, the more experiential the film will be. However, the audience must take that very first step. So for that, it’s more appropriate to view this at home where you can rewind in case you drift out of the film.

In context to Malick’s filmography, I would have preferred something to happen in the third act for something to lift itself to somewhere else. Comparing it to his last film Tree of Life, his directorial voice seems to growing more raw and barebones. And for that, my favorite Terrence Malick film remains The Thin Red Line. For anyone who hasn’t seen Malick’s work, perhaps they can start with that one. To the Wonder is definitely not for everybody, but I recommend it to any Malick fans. 

Rust and Bone by Jacques Audiard

Rust and Bone by Jacques Audiard

Put in charge of his young son Sam, Alain (played by Matthias Schoenaerts) leaves Belgium for Antibes to live with his sister and her husband as a family. Alain’s bond with Stephanie, a killer whale trainer, grows deeper after Stéphanie (played by Marion Cotillard) suffers a horrible accident where she loses her legs.

I have struggled with writing about this movie for months now. I have accepted the fact hat this review just simply won’t do the film any justice. So I’m going to just go straight into it…

Marion Cotillard and Matthias Schoenaerts both give great performances. I don’t know if it’s because I find Marion Cotillard really attractive or if she’s just really engages me an actress, but in every one of her scenes, I feel like I’m watching someone suffer right in front of me. This is probably what people were describing back then when Marlon Brando broke out with method acting in A Streetcar Named Desire.

Matthias Schoenaerts plays Ali like a brute animal that wants to communicate but doesn’t know how to show his soft side. The way Ali fathers his son Sam is upsetting yet very engaging to watch. It dispels the idea that a lead character doesn’t necessarily have to be likable as long as he’s watchable. We can see how he is trying to be better, even though he can’t help but be himself.

Ali and Stéphanie are one of the the most memorable onscreen couples I have seen in a while. These two characters cannot be anymore different from each other and yet I believed their relationship. It feels so real the way the two leads play it.

The film is gritty, poetic and even elusive at times. It hit a very deep note inside me and that makes it very hard to talk about the film’s inner workings. It made me think of how love between two people really is very dependent on need, circumstance and timing. Ali’s animalistic alpha male nature is the exact thing that feeds into Stéphanie’s trauma from the tragic loss of her legs. He is so straightforward about having sex to the point where he almost doesn’t even notice she is legless, which in turn is what begins to make feel Stéphanie normal and even beautiful again. This slowly lifts her out of depression and she regains meaning in her life and supports Ali’s animal nature (in the form of underground boxing), which is the exact personality trait that always gets him in trouble.

Against the film’s gritty raw palette, the unfolding of their relationship was very touching and deeply romantic as I felt what every action and reaction means internally and externally to both characters. When two people fall for each other, it feels like they’re creating their own private internal world together. This movie made me feel like I am watching that world slowly being created between these two people. I liked being inside their idiosyncratic world. Even though the actual situation would seem depressing, on the contrary, it’s executed with such vivid detail with so many poetic truthful moments that it made me feel all warm and fuzzy inside. One noteworthy poetic moment was a scene where Stéphanie revisits her workplace and regains meaning to move on from her injury as she watches a killer whale through a tank.

Some have said that the ending feels abrupt. I did not feel that way. The melodramatic emotions all properly build powerfully underneath throughout the movie till it wells up and completely geysers its way to a satisfying finish. It did not feel like a jump at all. Some can say it was a hokey cheesy way to end the movie and that can be a legitimate critique but it worked for me. Rust and Bone punched my gut, turned me into a sap and left me speechless.

It’s one of the best films I’ve seen in 2012. I tremendously enjoyed it and recommend it to anyone. I need to see The Prophet now.