nobody, not even the rain, has such small feet
Tree of Life

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An Stelle des wogenden Rheins plätschert jetzt also die Moldau? Father! Mother! Guide Us! Wie einem da der sensualistische Malickexistenzialismus aus dem Trailer entgegenschwappt; wie sorgenvoll und weltschmerzbeladen Sean Penn schon wieder guckt (ein Overacting der Stirnfaltenzerknitterung); und wirklich toll: dass da dieses fluid-pantheistische Durchdiegräserstreifen wieder dabei ist, der Malickmarker seit The Thin Red Line. Worum es in The Tree of Life gehen soll? Anscheinend, wie immer bei Malick: Zivilisatorische Zurichtung des Naturhaften vs. Reedukation der (filmischen) Sinne:

«We trace the evolution of an eleven-year-old boy in the Midwest, Jack, one of three brothers. At first all seems marvelous to the child. He sees as his mother does with the eyes of his soul. She represents the way of love and mercy, where the father tries to teach his son the world’s way of putting oneself first. Each parent contends for his allegiance, and Jack must reconcile their claims. The picture darkens as he has his first glimpses of sickness, suffering and death. The world, once a thing of glory, becomes a labyrinth.

From this story is that of adult Jack, a lost soul in a modern world, seeking to discover amid the changing scenes of time that which does not change: the eternal scheme of which we are a part. When he sees all that has gone into our world’s preparation, each thing appears a miracle—precious, incomparable. Jack, with his new understanding, is able to forgive his father and take his first steps on the path of life.

The story ends in hope, acknowledging the beauty and joy in all things, in the everyday and above all in the family—our first school—the only place that most of us learn the truth about the world and ourselves, or discover life’s single most important lesson, of unselfish love.»

Der gerüchteweise angekündigte US-Start im Mai deutet zwar auf Cannes hin, aber vielleicht doch Berlinale?