To the Wonder (image 1)

A rapturous photo essay on carnal and spiritual love.

Richard Corliss, Time

Screened as part of NZIFF 2013

To the Wonder 2012

Directed by Terrence Malick

Rachel McAdams, Ben Affleck, Javier Bardem and Olga Kurylenko star in an impressionistic contemplation of eroticism and grace by Terrence Malick (The Tree of Life). “A rapturous photo essay on carnal and spiritual love.” — Time

USA In English, French, Italian and Spanish with English subtitles
112 minutes CinemaScope / DCP

Director, Screenplay

Producers

Sarah Green
,
Nicolas Gonda

Photography

Emmanuel Lubezki

Editors

A.J. Edwards
,
Keith Fraase
,
Shane Hazen
,
Christopher Roldan
,
Mark Yoshikawa

Production designer

Jack Fisk

Costume designer

Jacqueline West

Music

Hanan Townsend

With

Ben Affleck (Neil)
,
Olga Kurylenko (Marina)
,
Rachel McAdams (Jane)
,
Javier Bardem (Father Quintana)
,
Tatiana Chiline (Tatiana)
,
Romina Mondello (Anna)
,
Tony O’Gans (sexton)
,
Charles Baker (carpenter)
,
Marshall Bell (Bob)
,
Greg Elliot (parish council president)
,
Michael Bumpus (doctor)
,
Lois Boston (Lois)
,
Danyeil Inman (homeless woman)

Festivals

Venice, Toronto 2012

Elsewhere

A mere two years after The Tree of Life, Terrence Malick returns with something utterly characteristic yet much looser and more intimate. Here his rhapsodic contemplation of nature and humanity’s fall from grace unfolds in a contemporary setting and draws explicitly on the erotic connection between man and woman. Ben Affleck and Olga Kurylenko appear as lovers whose joy in each other falters as they move, with her young daughter, from France to the plains of Oklahoma. Rachel McAdams appears as an old flame of Affleck’s while Javier Bardem proves a brooding presence as a benevolent priest doubting his faith.

“It is a bold and often beautiful movie, unfashionably and unironically concerned with love and God, and what will happen to us in the absence of either… Malick’s visual language is much in evidence: whispered narrative, a surging orchestral score, looming, circling camerawork to accompany wordless outdoor memory sequences which often take place suffused in sunsets and lens flare…

At its best, Malick’s cinematic rhapsody is glorious; during his uncertain moments, he appears to be repeating himself. But what delight there is in this film.” — Peter Bradshaw, The Guardian

“Once I surrendered to the ebb and flow of Lubezki’s images, the elegiac and almost anti-narrative mode, the sweet-sad blend of romance, eroticism and tragedy and the hypnotic score – which mixes contemporary electronic pop with Berlioz, Wagner, Tchaikovsky, Henryk Górecki and Arvo Pärt – I really never wanted it to stop.” — Andrew O’Hehir, salon.com