Song to Song (2017)

Centering “Song to Song” on young artists struggling to find their way into the business and into their own finest vein of creation—while they’re also struggling to find their way into the world and make the intimate connections of which they dream—Malick catches life at its most dynamic and its most unstable. The boundless aspirations and ardors of young people are themselves the core of his romanticism. Without nostalgia and without sentimentality, this seventy-three-year-old filmmaker looks to the heart of his own inspiration, his own impulses, and creates a cinema that, with the creative command of his own life experience, feels more exuberantly youthful than that of most Sundance phenoms.


Richard Brody, New Yorker 

Malick takes the musical environment of the Texan town of marco for a quadrilateral romance where his obsessions converge (transcendence through love, immaterial connection, integrity, spirituality) and stylemas (beams of lights, extensions of water, languid-looking girls observing the celestial sphere, polyphony of wandering voice-overs).

Rooney Mara is the main vertex, whose heart swings between the honest musician (Ryan Gosling) and the record predator (Michael Fassbender) who has a relationship with an unfortunate waitress (Natalie Portman). There are more characters with a short and unforgettable appearance (brutal Holly Hunter) in a story whose predictability does not make the experience less exciting.

Just as when the people who appear (and disappear) in our lives tend to repeat and interchange, like Malick's catalog of plans, we do not stop falling in love, grieving or finding each other again. We do not stop shaking with the jumps from song to song.