Badlands – terence Mallick

Lipsă de conștiință de sine. El se simte importnt dar nu știe de ce, nu înțelege impulsurile care îl fac
să acționeze. Cu siguranță nu e pasiune sau atracție. Sexualitatea pare extrasă din această relație. Un
tip de primitivism emoțional.

joacă un rol, se joacă de-a mama si de-a tata. ea vede viaț ca pe un basm, ca pe o poveste si e
detașată de ea

natura. always of too much space for the characters to fill.

road movie
plictiseală
merg fără țintă
efectul voice-over-ului

“Either by incompetence or willful perversity, dispenses with plot,

characterization, dramatic structure and emotional payoffs in favor of…
painstakingly composed pictorial diddling”

b. “It is full of elegant and striking photography; and it is an intolerably artsy,

artificial film… Back of what basically is a conventional plot is all kinds of
fancy, self-conscious cineaste techniques. The film proceeds in short takes:
people seldom say more than two or three connected sentences. It might be
described as the mosaic school of filmmaking as the camera and the action
hop around, concentrating on a bit here, a bit there.”

c. “Flat and colorless… exalted visuals and isolated metaphysical epiphanies

are ill-supported by a muddled, lurching narrative…sprawling, unfocused.
More than once, one is made to recall the old saw about how, if a scene isn’t
cutting together, you cut to a seagull flying overhead.”

“They are kept at a distance, doing things for no explained purpose….as if

[Malick] had taped gauze over their characters, so we wouldn’t be able to get a
reading of them.”
kel: “The movie can be summed up: mass-culture banality is killing our souls and
making everybody affectless.”
Malick wanted to play with our expectations about films of youthful rebellion, to make us
slowly but surely self-conscious, even a bit ashamed, of those expectations.  It’s a
somewhat cerebral approach to filmmaking, perhaps, but not necessarily pretentious. 
Hitchcock made grand popular entertainments out of the same ambition to undermine
our identification with his protagonists, keep the ground of expectation and sympathy
shifting beneath our feet.
Kael was right to note that there’s something overly calculated about the film, but wrong
to see that calculation as simpleminded.  I think Malick had subtler and deeper ambitions
for the film than creating metaphors about modern society.  He had begun, haltingly and
vaguely perhaps, his investigation of the imagination’s role, love’s role, the beauty of
nature’s role, in reconciling us to life — even a life as bleak and hopeless as Holly’s.
“preconceived”, as she put it, “that there’s nothing left to respond to”.
frumusețe leneșă

https://www.criterion.com/current/posts/6326-the-hot-
blooded-love-cry-at-the-cold-heart-of-badlands