Malick’s newest effort takes its title from George Eliot’s Middlemarch. Yet, for some, later films like The Tree of Life and To the Wonder are profound meditations on questions of God, human relationships, and a crisis of “ fecundity ” in the modern West. He can lean on certain visual tropes- the British Film Institute notes, for example, that his “images of nature, once unique and reflective, risk appearing flouncy and overused” -that are easily parodied. For another, he’s often criticized for making impressionistic films sparse on dialogue and plot. For one thing, he’s taken up God as a central theme. Malick is a divisive presence in today’s cinema-his early films Badlands and Days of Heaven are now rated highly, but his more recent choices have thrown him into disrepute. Terrence Malick’s new film A Hidden Life, also set under the Nazi reign, raises similar questions. His short (unfinished), clear-sighted and sober memoir raises one terrifying question: all that Haffner knew at the time, many millions of people around him knew equally well. he went into voluntary exile, first to France and then to England- to save his soul. Experiencing nothing more than what all his compatriots were experiencing, he faced the inescapable truth. He had no privileged information simply, like any other intellectual, he read the newspapers, followed the news, discussed current affairs with friends and colleagues. The author was a well-educated young man. Pretzel, writing under the pen name of Sebastian Haffner, left behind a memoir, which Leys draws on to give this account: In his essay “Lies That Tell the Truth,” the Belgian sinologist Simon Leys discusses Raimund Pretzel, a German who quit his native land in 1938 because he grasped at least some of what was happening around him. Fox Searchlight Pictures, 2019, 174 minutes
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