Is this Malick's best?
Is this Malick's best?
not really
Badlands and Days of Heaven are his best, period. His break was too long, and not he's just rushing to put his vision on film.
Neither of those is as good as The Thin Red Line or Tree of Life.
Though i admit badlands is a great debut and Days is the GOAT technical film for lighting.
I wanted to watch but I don't want to support the Maras buying their way into the GOOD movies. If I watch it will be from ripped dvd and I will never talk about it.
Michael Fassbender? Did not expect that.
Wasn't Christian Bale supposed to be in a film with Natalie Portman and Malick?
Yes, in the same tier as To the Wonder and Knight of Cups.
That was the previous film
>GOAT technical film for lighting
Isn't that Malick's Barry Lyndon?
>it's another "rich, white man with big dick is sad for no reason" episode
He finally checked his privilege
looks shitty and autistic
finally the hershlag simulator i've always dreamt about
>nu-malick
>anything but try hard poetry
I bet in a week you won't even remember which scene if from each movie
Take that back, Malick isn't shitty
I expected BLACKED from that thumbnail.
Found the capeshitters.
I thought this was a blacked thread
Then you're gonna love me.
I bet in a week you won't even learn proper English.
Here you go you degenerates
I need to see this film
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Bump for Neta
malick sucks
he's never made a good movie
The main theme of Malick's films on spiritual dematerialism is not eschatological, but a phenomenological ontology. Thus he implies that we have to choose between predialectic construction and deconstructivist neodialectic theory, essentially Heideggerian as seen in the concept of Dasein. The subject is interpolated then into a cinematic dematerialism that includes spirituality as a whole. But if the Kierkegaardian worldview holds, we have to choose between the cultural paradigm of expression and atomism. In Malick's own "The Concept of Horizon in Husserl and Heidegger" he says that "dread marks the ‘collapse of the world’”. Inherent in this is how the function of Lebenswelt (translated by Malick as "world of life") operates in all his films, chiefly in Days of Heaven and The Tree of Life. We see a phenomenological approach to the world showing a cinematic logic that presupposes a strucutral constraint in rootedness, another intentionality central to his filmography and philosophy. Because "metaphysical comfort" is not an object of temporality per se, but rather an aspect of automatic condition, as suggested by Cavell. Hermeneutic interpretations are also apparent in his post-hiatus movies; in fact the interchangeable subjectivities are but another representation of Husserl's and Wittgenstein's "form of life". As his academic hero Heidegger succintly noted, "freedom is the ‘abyss’ of Dasein, its groundless or absent ground". This is essentially the thesis operating in Malick's films.
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I had to force myself to get all the way through it
kek this looks like I would shoot if I was trying to appear artistic
This movie is trash
Only plebs say this. Each movie does its own unique thing.
what does this post mean?
I hate those kind of movie because they remind that i'm a virgin
It's shit like TTW.
>Sup Forums: the movie
>ywn ever
;_;
Was this made by Tarantino?