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Resistance release date : 27 March 19 2 9
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Ford v Ferrari release date : 15 May 19 4 2
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American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966. Ford v Ferrari 2019 review : A biography on American underdogs from a blue-collar industry with notable actors, an impressive production team, and an inspiring story; did someone say Oscars? Whatever its intent, ‘Ford v Ferrari’ is an impressive biopic that rarely strays from its path. A melding of entertainment and creativity, this should be considered both a commercial and critical success. Fire up your engine and race to the cinema to catch this film that everyone’s sure to be talking about.
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ford-v-ferrari-a-racing-biopic-thats-right-on-track
_**I'd have preferred to see Michael Mann's version, but this is an impressive and heartfelt study of friendship and triumph**_

>_Next year, Ferrari's ass is mine._

- Carroll Shelby, after losing to Ferrari in the 1964 World Sports Car Championship

>_To take control of this materialised energy, to draw the reins over this monster with its steel muscles and fiery heart - there is something in the idea which appeals to an almost universal sense, the love of power._

- A.J. Baime; _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_ (2009)

In 2015, a long-gestating project was announced as entering pre-production – based on Brock Yates's 1991 book _Enzo Ferrari: The Man, the Cars, the Races_, the film was tentatively called _Enzo Ferrari_ and was to be written, produced, and directed by Michael Mann (_Heat_; _The Insider_; _Ali_). A long-time racing fan, Mann had been trying to bring Ferrari's story to the screen since the book was published (in 1992 it was reported that Robert De Niro was circling the role and Mann would begin shooting right after he completed work on _The Last of the Mohicans_), but in 2015, things seemed to finally be moving ahead. Christian Bale was cast as Ferrari and Noomi Rapace as his mistress, Lina Lardi. And then, nothing. Time passed and no more was heard until 2017, when it was announced that Bale had dropped out and been replaced by Hugh Jackman. And again, nothing. In the meantime, a different film was greenlighted – an adaptation of A.J. Baime's 2009 book, _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_. Set to star Tom Cruise and Brad Pitt, it was to be written by Jason Keller (_Machine Gun Preacher_; _Mirror Mirror_; _Escape Plan_) and directed by Joseph Kosinski (_Tron: Legacy_; _Oblivion_; _Only the Brave_). That version of the project never got off the ground, but in 2018, it was announced that James Mangold (_Cop Land_; _Girl, Interrupted_; _Logan_) had signed on as director, working from a new version of Keller's script, written by Jez Butterworth and John-Henry Butterworth (_Fair Game_; _Edge of Tomorrow_; _Get On Up_). Rather confusingly, none other than Christian Bale is in the cast, although not as Ferrari, whilst Mann himself is credited as an executive producer. Is this (at least in part) the remnants of his own film? Is his credit related to nothing more than rights, or was he actively involved in making the movie? Will we still see his _Enzo Ferrari_ at some point?

_Le Mans '66_ (released in North American with the equally generic title of _Ford v Ferrari_) is an excellently made but unadventurous movie. Mangold is a fine director, but he's no Mann, nowhere near, and the film did, to a certain extent, just leave me pondering what kind of kinetic brilliance Mann would have brought to bear on similar material. In contrast, to Mann's body of work, _Le Mans '66_ could never be accused of breaking any new ground or trying anything especially original – it hits all the beats, it hits them well, but it never strays from the formula. Much as Mann's _Ali_ (2001) was a boxing movie on the surface only, being far more interested in politics and institutional racism, Mangold's film isn't really about motor cars – it's about friendship, male pride, personal integrity, sticking it to the Man, art v commerce, individuals v corporations; it is, in essence, a thematically broad and aesthetically anonymous pre-_auteur_ theory audience-pleaser made with the technology and aesthetic sensibilities of modernity. And whilst the individual parts may be unsatisfactorily safe and familiar, the whole is unexpectedly accomplished and immensely enjoyable.

The film begins in 1959 as Carroll Shelby (Matt Damon) wins that year's 24 Hours of Le Mans in an Aston Martin DBR1/300. However, shortly after the victory, he's told he has a heart condition and must stop racing. The film then jumps to 1963, as Ken Miles (Christian Bale), a brilliant but volatile and unpredictable driver, is running a sports car repair garage in LA, but the venture is failing (mainly because he continuously berates his customers for one thing or another). The British-born Miles has a reputation as one of the best drivers in the world, and is renowned for his almost supernatural ability to identify problems in test cars after only one or two laps. However, because of his personality, no one will hire him. Meanwhile, Ford Motor Company Vice President and General Manager Lee Iacocca (Jon Bernthal) suggests that Henry Ford II (a superb Tracy Letts, who steals every scene he's in) buy the cash-strapped Ferrari N.V., speculating that Ford's involvement in international racing may go some way to countering the company's reputation for making boring and unattractive family cars (in essence, he hopes the purchase will give the company more street cred). Enzo Ferrari (Remo Girone), however, turns down the deal in favour of a counter-offer by Fiat Automobiles, which is more lucrative and allows him to retain ownership of Scuderia Ferrari (Ferrari's racing division). He also calls Ford II fat. Enraged, Ford II determines to build a car capable of winning Le Mans, a race which has been dominated by Ferrari for years, winning in 1958, 1960, 1961, 1962, and 1963. Iacocca reaches out to Shelby, the last non-Ferrari driver to have won the event, and asks him to design a car which can beat any Ferrari. Shelby and his engineering partner Phil Remington (Ray McKinnon) get to work but soon Shelby explains to Iacocca and Ford II that they will need a great driver as well as a well-designed car. And so he reaches out to Miles, who comes on board, but immediately clashes with the Ford executives, particularly Senior Executive Vice President Leo Beebe (Josh Lucas). Nevertheless, Shelby, Remington, and Miles press on developing the GT40, a car capable of reaching speeds of 135 mph, if only it didn't keep breaking down.

_Le Mans '66_ is somewhat similar to Damien Chazelle's _First Man_ (2018), insofar as it uses the grandiose moments of history to tell an intimate story. Whereas Chazelle used the Apollo Program as the background against which to examine a failing marriage, Mangold uses the determination to win Le Mans '66 as the background against which to examine issues such as friendship and the clash between gifted individuals for whom success is its own reward and corporations who don't see value in anything unless it's monetarily successful. Indeed, the argument could be made that the film is actually a commentary on the Hollywood studio system, with Shelby and Miles representing independent filmmakers who love the craft and see the medium as an art-form, whilst the Ford executives represent the studio, always more concerned with the bottom dollar than artistic integrity, always getting in the way of the people who, if left alone to work, could produce something spectacular.

The film is also extremely funny in places, especially in a scene where Shelby shows up at Miles's house, and the two get into a fight on the street. Miles's wife Mollie (an underused Caitriona Balfe) emerges from the house, looks at the two men fighting, goes back inside, and remerges with a garden chair, a drink, and a copy of _Better Living_. She then sits down to watch the action. It's a hilarious moment, but it's one with great thematic importance – this is very much an androcentric world (Mollie is virtually the only female in the entire film), but for this brief moment, the audience is allowed to pull back and laugh at the utter ridiculousness of competitive maleness – boys will be clichéd boys, always trying to outdo each other, and getting all worked up over something as pointless as a fast car.

This thematic focus, however, is not to say the film ignores the intricacies of racing; on the contrary, there's a huge amount of techno-babble concerning vectors, aerodynamics, the mathematics of torque, the torsion of metal, and the ins and outs of physics. Additionally, although thematically, the focus isn't on the races themselves, there's no denying that the aesthetic design of these scenes is exemplary, albeit familiar. Mann would have done wonders here, but Mangold, cinematographer Phedon Papamichael (_The Ides of March_; _This Is 40_; _Nebraska_), and sound designers David Giammarco (_The Amazing Spider-Man 2_; _The Dark Tower_; _The Predator_) and Jay Wilkinson (_Furious 6_; _Man of Steel_; _Alpha_) have crafted some truly intense moments. For the most part, Mangold and Papamichael avoid any objective shots (for example, there are no overheads giving us a good vantage of the entire race), and there are very few shots showing us something that Miles is unable to see. The scenes aren't shot in the first-person, but our vision is anchored to his. This, of course, contributes to a subjective focalisation and creates the sense of being in the car with him, which brings a default level of intensity, as well as giving the viewer a perfect vantage point from which to see just how fast these guys are going and how difficult what they do actually is.

Is there a Mann influence on the racing scenes? Absolutely; if you're familiar with how Mann often shoots cars in motion (the camera affixed to the side of the car, with the screen virtually split in two – the side of the car taking up one half, the approaching road taking up the other), you simply can't help but notice the similar positioning of Papamichael's camera. Are they the best racing scenes ever put on film? No; you can find those in Lee H. Katzin's _Le Mans_ (1971), which intercuts footage shot during the real 1970 event with material staged for the film, lending the whole thing an unprecedented intensity that has yet to be topped. However, _Le Mans '66_ makes a hell of an effort, and that can only be commended.

In terms of problems, there are only two of any significance. The first concerns just how safe and rudimentary the film is. Aesthetically, although the race scenes are kinetic and exciting, there isn't anything new or inventive in them; thematically, the film doesn't say anything we haven't heard before; and structurally, it walks a very well-worn path – chances are that everything that you think might happen in _Le Mans '66_ does happen. This is your basic underdog story, and it adheres rigidly to that template. The character of Beebe is a good example of just how rigidly. In essence, he's a poorly written token villain because you can't have an underdog story without a token villain (usually in the form of bureaucratic interference). In this case, when Mangold feels the need to inject some conflict into proceedings, Beebe will pop up to throw a wrench into the works. His motivation? Apart from some brief references to how he doesn't think Miles is a "_Ford man_", his antipathy is never explained – the character is a Swiss army knife villain who can be used for multiple purposes, a one-size-fits-all token bad guy without an iota of nuance or interiority. The second problem concerns Shelby himself, who is disappointingly one-dimensional (at best), as we learn absolutely nothing about his personal life – for example, the film makes no reference to the fact that by 1963 he was on wife number three (of seven!). Who is the film's Carroll Shelby, and why should non-racing fans care about him? We never get an answer – he's Matt Damon wearing a Stetson and speaking with a Texas drawl. And that's about all the character development he gets.

Although these issues are significant in isolation, the thing about _Le Mans '66_ is that it's so well made, it rises above the clichéd and overly-familiar nature of many of the individual scenes, resulting in a whole that is very much more than the sum of its parts. A film about friendship and integrity rather than racing, it doesn't take any risks, nor does it bend any rules. Indeed it does nothing that could be labelled innovative. For all that, however, I couldn't help but enjoy it. It won't surprise you, it probably won't move you, it certainly won't change your life, but the storytelling is clear and refined, and the journey is one well worth taking.
I never expected a sports film, let alone one based on a true story, to impress me so damn much. James Mangold offers one of the best, if not the best sports movie ever. With award-worthy performances from both Christian Bale and Matt Damon, Ford v Ferrari (aka Le Mans ‘66) has characters so exceptionally-written and so emotionally compelling that I felt like crying by the end of the film. The races are riveting and entertaining, but it’s the beautiful screenplay that gets me. Definitely, one of the movies of the year!

Rating: A+
I think _Ford v Ferrari_ suffers from mismarketing. I don't mean that it was poorly marketed, and that the trailers made it look bad or anything. Just that it was marketed inaccurately. When I was keeping myself abreast of this project, it seemed very much that the insinuation was that the movie would be a battle between Bale's and Damon's respective characters. That this would essentially be the run-through of the whole film, and the climax would feature one emerging victorious over the other. In actual fact, the opposite is true. _Ford v Ferrari_ is largely about the friendship and partnership of those two characters. An occasionally rugged, and one occasion even violent friendship, but a friendship nonetheless. Even the title is misleading. I suppose Ford does v Ferrari at a couple of points over the movie's runtime, but it's not what _Ford v Ferrari_ is **about**. In fact, Ferrari barely features in the movie at all. Here's the kicker though: I actually liked what this thing ended up being, more than I think I would have enjoyed a movie that really did revolve around Bale actually versing Damon, or one about Ford actually versing Ferrari.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Well made sports-racing movie with excellent acting by Damon and Bale (no surprise there) and the racing sequences were great, not to mention the sound design. Kind of was concerned there wouldn't be enough story to fill the nearly 2.5 hour runtime, but this kept me engaged, though the ending was a bit anticlimactic. Still, good work from James Mangold. **4.5/5**
Click here for a video version of this review: https://youtu.be/IByQpyGV9Lg

Despite not being a big fan of track car racing - I’m more of a rally man - the chance to see Matt Damon and Christian Bale lead in a true life story attracted me to _Ford v Ferrari_. It’s a very good movie that tells the tale of the development of Ford’s race program to topple Ferrari as the champions of Le Mans.

Here’s the official description:

_American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966._

I’ll say up front that even though Ferrari is mentioned in the title, they don’t really play a huge part in the movie. I was expecting things to bounce between each camp as they tried to one up each other in the race for glory. While Ferrari are here and there throughout, the main battle of the movie is Shelby and Miles trying to get their work done amidst the interference from factions within Ford’s management.

It still makes for a great story though, and it’s a movie that takes you on a ride of many highs and lows. From technological failures and success, to corporate shenanigans, to father-son moments, this hits so many beats that it kept us entertained the whole way through. Not only does it hit them, it does them very very well. There were some moments where I was genuinely holding my breath. It’s great stuff.

Even from a technical point of view there is a lot to love about this. The cinematography was a stand out for me - some of the sunset shots were stunning, as were the very intense race sequences. I’m sure there’s CGI all through this but it was of such a good quality that it was barely noticeable.

Damon and Bale are outstanding and lead from the front, with Bale in particular seeming to inhabit the role and transform, as he so often does. Even all the side characters bring their A game and the end result is a pleasure to watch.

This is an excellent film, it’s the whole package and feels like a real film as opposed to much of the cookie cutter movies we get a lot of these days.

I thoroughly enjoyed this and highly recommend it.
Exactly what you'd expect from a movie featuring Led Zeplin in its trailer (+1 star for Christian Bale's compelling performance).

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Romulus and Remus, two shepherds and loyal brothers, end up taking part to a journey that will lead one of them to be the founder of the greatest nation ever seen. However, the fate of the chosen one will pass from killing his own brother. The First King 2019 review :

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Title : The Witch
The Witch genre : Horror, Drama, Mystery, History
The Witch crew : Mark Gingras, Mark Korven, Chris Columbus, Eleanor Columbus, Brian Campbell, Brian Campbell, Eric Bryson, Wayne Griffin, Lars Knudsen, Jay Van Hoy
The Witch release date : 7 October 19 7 3
The Witch runtime : 92 Minutes
The Witch Crew : Mark Gingras, Mark Korven, Chris Columbus, Eleanor Columbus, Brian Campbell, Brian Campbell, Eric Bryson, Wayne Griffin, Lars Knudsen, Jay Van Hoy
The Witch movie cast :
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In 1630s New England, William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness, exiled from their settlement when William defies the local church. When their newborn son vanishes and crops mysteriously fail, the family turns on one another. The Witch 2015 review : > While an evil force slowly possessing them, the family bond is put on a test.

The film was based on the collection of a series of the real events that takes place in the 17th century New England. The story of a farmer family who came across the ocean, but now lives on the edge of the forest after denied permission to build a house in a village. When the newborn baby disappears in a thin air, the family begins to experience the mysterious events. Without a clue about the happenings, the evil force begins to possess them while the unity of the family is tested.

Wow, finally a wonderful horror-psychological-thriller. Usually horror films are the worst kind compared with other genres, because most of them overly rely on the sudden sound/noise and gore. But there are many awesome horror films I had liked which were better story than the graphical presentation, like this one. So I love good narration than those try to scare me with make-ups, stunts and sound mixings.

It was a limited cast film, sets in a beautiful remote place and the language was awesome that perfectly suits for the horror theme like this. Everyone's performance was brilliant. It is just a one million dollar film and the entire film was shot within a month. The records are not matter when the writing and the direction were top notch. Especially for a first timer it was a remarkable achievement.

A simple plot, developed greatly and the suspense was the highlight. Yet viewers expect more explanation, but I'm happy for what it is and it should not go deeper than that which might spoil its unique flavour. Not just horror film fans, everyone should try it if they're capable to handle the slow narration. Finally, like usual, here I won't ask for a sequel, because it'll make an amazing one off film than the dozens of crappy follow ups.

8/10
This was a really good horror film. The direction was very interesting and Robert Egger plays with darkness and shadows in a really horrifying way. The tension is unbearable at times.

The dialogue is a bit hard to follow as it is very "oldé English" to add to the historical accuracy of the piece. The actors are all good at reciting this strange dialect and demonstrating the paranoia spreading through the family thanks to religion and superstition.The film is based on accounts and texts found from the era and so everything seen on screen has been taken from sources and barely been touched. Every part of the film seems authentic.

It is refreshing to see a film that doesn't really on jump-scares and annoying "cattle-prod" techniques to make audiences scared. 'The Witch' is genuinely disturbing without resorting to these techniques. It is very strange and gory when it needs to be. I also found these strange scenes quite fascinating and educational as the film almost seems like a historical document.

★★★★
Talk about old school!

“The Witch” is a painstaking recreation of Puritan life in New England. The lifestyle is mimicked. The clothes are period-accurate. The dialogue is actually based off of documents and speeches from that time. It’s as if Mel Gibson decided to update “The Passion of the Christ” by 1600 years.

As mentioned, the movie is set in Puritan New England as a family is banished from the larger community and has to make their own way out in the wilderness. As they build their home, strange things begin to happen, starting with the abduction of the infant Samuel. Things continue to get worse and worse, until… okay, no spoilers. See the movie.

This is a dark and effective movie. I can’t remember the last time I actually had a start from the all too often used jump scares, but the movie is absorbing enough that it did manage to “get” me a couple times. Robert Eggers seems to have kicked off a new wave in old-school, deep supernatural and existential horror. I won’t lie that I drew some comparisons between this and Ari Aster’s “Hereditary,” if nothing else than by simply the way the movie felt and left me feeling at the end.

That being said, the film isn’t perfect. In fact, oddly enough, it’s perfection is what gives it imperfection. The period is so painstakingly recreated, in particular the dialogue, that sometimes hearing it can be jarring, making me stop for just a second to think about what was just said, which unfortunately interrupts the flow and managed to pull me out of the film. It’s kind of a strange complaint that something could be so accurate that it fails to suspend disbelief, but here we are.

“The Witch” is quite an achievement and I’m glad that this film, which would otherwise be relegated to underground status, has managed to achieve a following, enough so that Robert Eggers got to do a follow-up with the Lovecraftian-looking “The Lighthouse.” Definitely worth checking out.

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Escape From Pretoria crew : Lisa Brennan, David Barron, David Hirschfelder, Gary Hamilton, Geoffrey Hall, Michelle Krumm, Bryce Menzies, Fiona Rees-Jones, Fiona Rees-Jones, Kim Williams
Escape From Pretoria release date : 17 April 19 6 0
Escape From Pretoria runtime : 102 Minutes
Escape From Pretoria Crew : Lisa Brennan, David Barron, David Hirschfelder, Gary Hamilton, Geoffrey Hall, Michelle Krumm, Bryce Menzies, Fiona Rees-Jones, Fiona Rees-Jones, Kim Williams
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Emperor release date : 14 April 19 9 3
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Title : A Hidden Life
A Hidden Life genre : Drama, War, History
A Hidden Life crew : James Newton Howard, James Newton Howard, Lisy Christl, Grant Hill, Henning Molfenter, Charlie Woebcken, Sebastian T. Krawinkel, Jörg Widmer, Jörg Widmer, Marcus Loges
A Hidden Life release date : 21 May 19 4 2
A Hidden Life runtime : 174 Minutes
A Hidden Life Crew : James Newton Howard, James Newton Howard, Lisy Christl, Grant Hill, Henning Molfenter, Charlie Woebcken, Sebastian T. Krawinkel, Jörg Widmer, Jörg Widmer, Marcus Loges
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Austrian farmer Franz Jägerstätter faces the threat of execution for refusing to fight for the Nazis during World War II. A Hidden Life 2019 review : An audiovisual beauty like all Malick's films although this is definitely the first one that has a more interesting story to tell since Tree of Life but unfortunately in my opinion its own ambition and pretense of doing something more epic plays against it because A Hidden Life it's a film that greatly extends its stay.

Although Malick doesn't change the formula he has been using both narrative and visually, this story manages to feel different perhaps because unlike films like To The Wonder, Knight of Cups and Song to Song, Malick goes back in time and the visual aura of the film has a more distinctive touch.

Again Malick doesn't seems to demand a lot from his actors because once again the romantic situations feel repetitive but as I said being a more relevant story, this time the interactions feel deeper.

Here the problem as I said is the duration. The film is just a few minutes away from being three hours long and because of the narrative's shape those three hours feels like too much.
I cannot deny that A Hidden Life is a beautiful film, it's a really good film but it's a really long one.

I mean, I completely enjoy it, I would see it again without a doubt but I could definitely cut an hour from it to make it more agile, although I understand this was Malick's vision and desire for the audiences to experience his film.

I repeat, I liked it a lot, it's Malick's most rewarding work since Tree of Life and it's a film that any serious movie lover will enjoy or at least it will give it the chance to be marvel by it.
Terrence Malick is a filmmaker whose primary concern is the sanctity of the human soul, and in this instance, he has chosen a time and a place where that sanctity was under tremendous threat, and a story of two people sacrificing themselves to protect it. 'A Hidden Life' is a remarkable and uncompromising film, a work of hope and sorrow and belief in the human spirit. Even with the foundation of a true story, Malick still continues to experiment, to follow his instincts and find a thematic journey more important than a narrative one. At nearly three hours, with almost no dialogue, a slow and considered pace and Malick's propensity for aesthetic indulgence, it certainly won't be a film for everyone, but those able to tap into it will find a deep and profound experience. 'A Hidden Life' isn't Terrence Malick returning to form. It's another step in the evolution and exploration of one of the most singular filmmakers the cinema has ever seen.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-a-hidden-life-terrence-malicks-stunning-ode-to-the-power-of-kindness
“If God gives us free will, we are responsible for what we do or what we fail to do.”

Ambitious, but strangely simple.

A true and powerful story told in a very Malick way. Based on letters written in Austria during Hitler’s early reigns; ‘A Hidden Life’ follows a husband and wife objecting the Nazi party - which unfortunately leads to the husbands imprisonment and his wife being persecuted by villagers, all friends and neighbours for decades - all become enemies.

The camera work and cinematography were all excellent, of course with it being a Terrance Malick movie. Free flowing camera movement that often drifts around the actors and looms over these people's lives - often getting up close and personal. There are some powerhouse performances from everyone as Malick effectively lets the actors work freely by improvising on the spot and being present in the moment. So we get to experience Franz and his wife Franziska (along with their children) living in the present and how beautifully poetic it can be. So we can briefly live the life of these people before the horrors of war ruin everything. The little moments we take for granted.

Apparently whenever an actor gets dry on camera, Malick would gently push them forward and tell them to keep going - in terms of activity and discovering new things while losing a train of thought and reverie in character. I think this is the reason why the actors always give such raw and natural performances. I would imagine it also helps them develop and personally attach themselves to the character in bolder lengths, because they can never do wrong.

Although it didn’t need to be three hours long and could have easily been 2 hours. I had issues with how long the movie stayed in one setting, as it dragged the pacing down a bit. I must admit there was a point where I nearly dozed off, not because it was boring, but prior to watching I had a long day that pretty much drained me and the movie at times didn’t help. However there was a point mid way through where the movie woke me up, which is incredibly rare for an art house movie.

I’ll give Malick credit, nobody makes movies like he does. Love it or hate it, but no other director has come close to finding the inner heart and soul in nature that’s with human beings. I think it’s easy to look at his work and label them as “pretentious”. His approach to narration is incredibly jumbled, but more truthful than movie dialogue, because we don’t mean what we say most of the time; a rambling mess. I often find the people who dismiss him and think they know about ‘keeping it real’, are the pretentious ones.

The unique thing about this movie and his previous work, when the movie is over you start to notice nature and I really do mean notice nature - something you would have never done before. Such as: grass and leaves dancing in the wind, natural light, the warmth of the sun touching your skin, and the smell of nature. It’s incredibly compelling how a movie can activate my senses that I haven’t experience in a very long time, dating back to childhood.

“Nostalgia is a powerful feeling; it can drown out anything.”

Overall rating: A welcome return to form.
**_A meditation on morality and faith; a film of unparalleled sublimity; an experience beyond the sensory_**

>_Death be not proud, though some have called thee_

>_Mighty and dreadfull, for, thou art not soe,_

>_For, those, whom thou think'st, thou dost overthrow,_

>_Die not, poore death, nor yet canst thou kill mee._

>_From rest and sleepe, which but thy pictures bee,_

>_Much pleasure, then from thee, much more must flow,_

>_And soonest our best men with thee doe goe,_

>_Rest of their bones, and souls deliverie._

>_Thou art slave to Fate, Chance, kings, and desperate_ _men,_

>_And dost with poyson, warre, and sicknesse dwell,_

>_And poppie, or charmes can make us sleepe as well,_

>_And better than thy stroake; why swell'st thou then?_

>_One short sleepe past, wee wake eternally,_

>_And death shall be no more; death, thou shalt die._

- John Donne; "Holy Sonnet X" (1609)

>_...the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs._

- George Eliot; _Middlemarch_ (1872)

>_I am convinced that it is still best that I speak the truth, even if it costs me my life. For you will not find it written in any of the commandments of God or of the Church that a man is obliged under pain of sin to take an oath committing him to obey whatever might be commanded of him by his secular ruler._

- Franz Jägerstätter (July 19, 1943)

>_Dearest wife and mother. It was not possible for me to spare you the pain that you must now suffer on my account. How hard it must have been for our dear Saviour when, through His sufferings and death, He had to prepare such a great sorrow for His Mother – and they bore all this out of love for us sinners. I thank our dear Jesus, too, that I am privileged to suffer and even die for Him._

- Franz Jägerstätter (August 8, 1943)

>_Why should I be afraid to die? I belong to you. If I go first, I'll wait for you there, on the other side of the dark waters._

- Pvt. Jack Bell; _The Thin Red Line_ (1998)

Legendary writer/director Terrence Malick originally studied philosophy and excelled as an undergraduate at Harvard under philosopher of aesthetics, ethics, and ordinary language, Stanley Cavell. In 1966, Malick wrote an exceptionally well-received thesis on Edmund Husserl, the founder of phenomenology (study of structures of consciousness), and Martin Heidegger, pioneer in the fields of hermeneutics (study of theories of interpretation) and existentialism (study of the totality of an individual's experience), and founder of existential phenomenology (more on that momentarily). Malick graduated _summa cum laude_ and _Phi Beta Kappa_ with a Rhodes Scholarship, and headed to Oxford to work on his PhD thesis under Gilbert Ryle, a behavourist best known for his opposition to the Cartesian conception of mind-body duality (the theory that the mental and the physical are separate and do not affect one another). However, Ryle felt that Malick's proposed study of conceptions of "being-in-the-world" in the work Søren Kierkegaard, Ludwig Wittgenstein, and Heidegger "_wasn't philosophical enough_", and Malick returned to the US without his doctorate. In 1969, he published a translation of Heidegger's 1929 essay "Vom Wesen Des Grundes" as _The Essence of Reasons_, before finding his way into filmmaking, where his knowledge of Heidegger, particularly the concepts of existential phenomenology, would inform his filmography from its inception.

At the same time, Malick's films have always tended to deal with explicitly Christian themes, particularly the notion of grace (the free and unmerited favour of God). _Badlands_ (1973) and _Days of Heaven_ (1978) are both moral parables about fallen men – in _Badlands_, Kit Carruthers (Martin Sheen) accepts his evil and trades on society's fascination with that evil, whereas in _Days of Heaven_, Bill (Richard Gere) attempts to outrun the wrong he has done, bringing biblical retribution down on himself and those around him. Malick's masterpiece _The Thin Red Line_ (1998) is partly about the contrast between war and the belief that this world is merely a gateway to the next, whilst also looking at the idea that the glory of God can be seen everywhere, no matter the circumstances, if one only has the eyes to see it. The criminally underrated _The New World_ (2005) looks at the clash between nature and grace, and the corruption of the values of the Old World. Nature versus grace also forms the spine of the Palm d'Or-winning odyssey that is _The Tree of Life_ (2011), but here, Malick is more interested in looking at the similarities between the macro (the birth of the universe) and the micro (the death of a child), and how each is part of a tapestry none of us can fully comprehend. And then we have his unofficial modern-day trilogy, each made without a script – _To the Wonder_ (2012), _Knight of Cups_ (2015), and _Song to Song_ (2017), punctuated by his pseudo-documentary _Voyage of Time_ (2016). _To the Wonder_ continues to look at the contrast between nature and grace, albeit with a modern inflection. _Knight of Cups_ is essentially a modern version of John Bunyan's Christian allegory _The Pilgrim's Progress_ (1678) and looks at the dangers of coveting that which one hasn't earned or doesn't deserve. _Song to Song_ functions in a similar manner, transposing the story from the film business to the music industry. And _Voyage of Time_ is a homily to nothing less than the creator of the heavens and Earth. And Malick's next film? _The Last Planet_, a narrative covering a series of episodes from the life of Jesus Christ. Yet for all this, Malick is never didactic, dogmatic, or puritanical. No matter how lofty his vision, his films remain always rooted in the human soul, very much in the tradition of Heidegger's existential phenomenology, which focuses on the ontology of the earthly _Dasein_ ("being-there") rather than the epistemology of the _Lebenswelt_ ("lifeworld") – even the most overtly metaphysical scenes in Malick (the creation sequences in _Tree of Life_ and _Voyage of Time_) are still ultimately focused on earthly physical existence.

All of which brings us belatedly to _A Hidden Life_, which may be Malick's most ostensibly Christian work yet. Although his most narratively conventional and linear film since Thin Red Line, it's quintessentially Malickian, featuring many of his most identifiable stylistic traits (whispered voice-overs, sweeping cameras spinning around non-stationary characters, the beauty of nature contrasted with the ugliness of humanity). In this sense, although critics who disliked the trilogy are hailing it as Malick's "_return to form_", it's certainly not going to win him any new converts. Malick's films are about the search for transcendence in a compromised and often evil world, and, telling the true story of the Austrian conscientious objector Franz Jägerstätter, who refused to swear an oath of allegiance to Hitler, _A Hidden Life_ is no different, asking questions such as should one do what one knows to be morally right, even when it accomplishes nothing except the suffering of one's self and family; what is the value of sacrifice if it goes unknown; how far can principals be invoked in such a situation; should spiritual purity be the supreme arbitrator of one's conscience; is one obliged to condemn evil even if that condemnation is irrelevant? Pretty light stuff all round, really. Winner of both the _Prix François Chalais_ and the _Prix du Jury Œcuménique at Cannes_, the film was screened at the Vatican Film Library in December 2019, with Malick making an ultra-rare public appearance. And how good is _A Hidden Life_? Very, very, very good. Not quite _Thin Red Line_/_Tree of Life_ good, but certainly _Badlands_/_Days of Heaven_/_New World_ good. This is cinema at its most sublimely pious, a supremely talented master-_auteur_ operating at the height of his not inconsiderable powers.

Austria, 1938. In the bucolic village of Sankt Radegund, nestled in the mountains and valleys of Oberösterreich, peasant farmer Franz Jägerstätter (August Diehl) lives a simple but blissful life with his wife Fani (Valerie Pachner), his mother Rosalia (Karin Neuhäuser), Fani's sister Resie (Maria Simon), and his and Fani's three children – Rösl (Ida Mutschlechner), Maridl (Maria Weger), and Loisl (Aennie Lade). A devout Christian, Franz is unenthusiastic about the looming war, despite its widespread popularity in the village, bringing him and his family into conflict with many of the locals, most notably Mayor Keil (Martin Wuttke), who considers Franz a friend, but who is also in favour of the _Anschluss_, believing Austria to have been decimated by immigration. Franz is called up to basic training and is away for several months, but when France surrenders in June 1940, it's thought that the war will soon end, and he's sent home without having been deployed. However, as time goes by, and as the war shows no signs of ending, his opposition grows ever more ingrained, to the point where his wife, mother, and sister-in-law are being harassed and his children teased. Seeking the counsel of local priest and close family friend Ferdinand Fürthauer (Tobias Moretti), Franz is referred to the Bishop of Salzburg, Josephus Fließer (the final performance of the great Michael Nyqvist), who tells him that the Church teaches one must be faithful to one's fatherland. Eventually, Franz is conscripted, and the first order of business is to swear an oath of allegiance to Hitler. Franz, however, refuses, and is arrested and imprisoned. For the next few years, several people try to get him to change his stance, most notably Captain Herder (Matthias Schoenaerts) and Lueben (the penultimate performance by the legendary Bruno Ganz), a sympathetic judge, both of whom try to convince him that his sacrifice will accomplish nothing except cause pain for his family. Nevertheless, although he has no desire to martyr himself, he remains resolute.

Needless to say, Malick fashions this material into a thematically rich mosaic. To a certain extent, all his films deal, to one degree or another, with the notion of the corruption of Eden. In _Badlands_, it's the exploitation of childlike innocence; in _Days of Heaven_, it's the destruction of the bucolic Texas panhandle by a Biblical plague and fire; in _Thin Red Line_ it's the peaceful and harmonious Solomon Islands, their culture fractured by a War about which they care little; in _New World_, it's the spirituality of the pre-colonial Americas; in _Tree of Life_, Malick returns to the corruption of innocence, but so too looks at the effects of cruelty on the human soul; even the present-day trilogy looks at notions of ruination and spiritual disintegration. However, _Hidden Life_ is perhaps his most explicit examination of this theme thus far. Sankt Radegund is introduced as an earthly paradise, hidden in the embrace of the nearby mountains, fed by the River En (the film was originally called simply _Radegund_, before adopting the George Elliot quote as its title). One of the first lines of dialogue is Fani stating, "_we lived above the clouds_". Life is simple and pure, with subsistence cultivated from nature by hand. However, as the war takes hold, the village comes under attack, not by bombs, but by ideological complicity and moral midgetry. The harmony and idealism have been corrupted, not by Franz's refusal to comply, by everyone else's insistence on compliance. The village at the end of the film is an infinitely different place from that at the start, a tainted place. As much as this is Franz's film, so too is it a story about the fall of Eden.

Although Malick has never been an especially political filmmaker in a conventional sense, one could certainly read an element of political allegory in _Hidden Life_. This is a story of Christians, often very devout Christians, refusing to condemn an evil man when he rises to become the leader of their country ("_don't they know evil when they see it?_") So too is it the story of the Church's failure to stand against evil for fear of having its power curtailed. It also looks at how characters like Keil are easily convinced by Hitler's anti-immigration rhetoric, and touches on the idea that a man's integrity might be called into question because he dares to call out a leader for their transgressions. All of this has obvious contemporary parallels. For example, look at how US evangelicals have blindly embraced Trump despite the antithetical nature of their (apparent) ideology and his actions. Nowhere is this clearer than in the puritanical figure of Vice President Mike Pence, a supposedly pious born-again Christian who actively supports and excuses an immoral and corrupt regime. The ease with which Hitler's empty nationalist bravado won supporters to his cause is not dissimilar to how Trump marshalled his base during his 2016 presidential campaign, and how he keeps that base sweet with his ongoing racist diatribes. Similarly, the idea that a man's integrity can be called into question for failing to offer blind loyalty to a corrupt leader finds parallels in the case of Lt. Col. Alexander S. Vindman, a Purple Heart recipient (won during his time with a military that Trump repeatedly dodged), who had his integrity and patriotism questioned for daring to testify against Trump during the 2019 impeachment hearings. Similarly, at one point, Franz is told, "_a darker time is coming, and men will be more clever. They don't confront the truth. They just ignore it._" Malick may or may not have explicitly intended the contemporary resonance of such lines, but one can't deny their applicability to the here and now.

In any case, Franz doesn't resist the Nazis because he wants to spearhead a movement or because of political high-mindedness. His reasons are simpler – he believes that God teaches us to resist evil, and as a great evil, he must therefore resist Nazism. There's nothing egotistical and precious little that's political in this stance. It's not even a question of personal morality. He believes he's acting in the way instructed by the Almighty ("_they ask you to take an oath to the anti-Christ_"). In an important exchange with Lueben, Franz is asked, "_Do you have a right to do this?_", to which he responds, "_Do I have a right not to?_" His resistance is ingrained in his very soul, it is part of his purpose in life. Indeed, watching him head willingly toward his tragic fate, turning the other cheek to the prison guards who humiliate and torture him, he becomes something of a Christ figure ("_does a man have a right to put himself to death for the truth?_"), with his time in prison not unlike the Passion. An important conversation concerning this is when he is speaking to Ohlendorf (Johan Leysen), a cynical artisan who is restoring the local church's artwork. Ohlendorf laments that he must work not on images of Christ's suffering as it was, but on the sanitised version desired by the clergy, and he lacks the courage to do otherwise; "_I paint their comfortable Christ, with a halo over his head. Some day I might have the courage to venture. Not yet. Some day. I'll paint the true Christ._" It's a subtle summation of Franz's situation, of course, but so too of the film, which shows Franz's suffering as it was even as it celebrates the power of faith to transcend such suffering.

In this sense, much like Pvt. Witt (Jim Caviezel) in _Thin Red Line_, Franz is a Heideggerian _sein-zum-tode_ ("being-towards-death"). This describes not the hastening towards the end of _Dasein_ in a biological sense but is rather about the process of growing in the _Lebenswelt_ to a point where one gains an authentic perspective on _Dasein_, a perspective solidified by death, as one comes to completely accept the temporality of this existence, and hence no longer fear death. The application to both Witt and Franz is obvious – both men accept that this world is transitory and that life is simply part of the soul's eternal journey, so neither man fears death, and by not fearing it, they triumph over it. In _Thin Red Line_, Pvt. Bell (Ben Chaplin), writes to his wife, "_if I go first, I'll wait for you there, on the other side of the dark water_". Here, Fani tells Franz, "_I'll see you there. In the mountains._" The sentiment is the same – after this world comes another; after the transitory comes the eternal.

At the same time, however, the film never denies or ignores the pain of living, nor the corruption and decay found in the world. Malick has Franz point out such things as "_he who created this world created evil_", whilst Fani naively believes "_no evil can happen to good men_", something explicitly addressed and denied by Cpt. Staros (Elias Koteas) in _Thin Red Line_, who asks, "_are you righteous? Kind? Does your confidence lie in this? Are you loved by all? Know that I was, too. Do you imagine your sufferings will be less because you loved goodness? Truth?_" Goodness and truth do not exempt one from suffering. The sun shines on all men alike, good and evil, and although Fani hypothesises that "_a time will come when we will know what this is for_", Malick seems to suggest that it will not be on this plane of existence. If there is sense to be found, as Franz and Witt believe there is, much of Malick's work seems to suggest that that sense is to be found elsewhere.

Aesthetically, as one expects from Malick, _A Hidden Life_ is almost overwhelmingly beautiful. I have to admit, I was concerned when I found out this would be Malick's first film without production design Jack Fisk, and even more concerned with I learned it would also be without cinematographer Emmanuel Lubezki, who has worked on all of Malick's material since _New World_ (_Voyage of Time_ notwithstanding). Instead, the film was shot by Jörg Widmer, a prolific Steadicam operator and camera assistant who also started working with Malick on _New World_. And the cinematography is very, very impressive, albeit not quite up to the quality of John Toll's work on Thin Red Line or Lubezki's on Tree of Life. But what is?

As in everything Malick has ever done, the power, vastness, and indifference of the natural world are paramount. Indeed the film opens with the sounds of birds chirping and a river flowing, followed by a voice-over in which Fani invokes the natural grandeur of Sankt Radegund ("_I thought that we could build our nest high-up. In the trees. Fly away like birds to the mountains_"). All of this before we see a single image. The film then begins (and closes) on breath-taking shots of the mountains around the village. After the opening shots, Malick surprised me by cutting to old archive footage of Nazi marches and rallies. Bizarrely, Taika Waititi chose to open his anti-hate film _Jojo Rabbit_ (2019) in similar fashion, although, as one can imagine, Malick's film has a slightly (ever so slightly) different tone to Waititi's brilliant satire. Something else Malick does that he has never done before is that a lot of the VO is epistolary, with large portions of it taken from the letters Franz and Fani write to one another when he was in prison. Again, for Malick, this is a very conventional style to employ, especially insofar as his VOs have been getting more and more abstract as his film have gone on – in _Badlands_, a lot of the VO is from a diary, whereas in _Song to Song_, the VO is so ethereal, it often doesn't even form full sentences. The VO in _Hidden Life_ is spoken entirely by Franz and Fani, and is far less abstract, which is not to say for one second that it's explanatory or expositionary, rather than it's more linear.

Shooting digitally on the Red Epic Dragon camera, Malick and Widmer shot most of the exteriors (and some of the interiors) in a wide-lens anamorphic format that distorts everything outside the dead-centre of the frame. The effect is subtle (we're not talking fisheye lens distortion), but important – pushing the mountains further around the village, bringing the sky closer, elongating the already vast fields. This is a land beyond time, a modern Utopia that kisses the very sky. You look at this world and you think to yourself, "_why would anyone not do everything in their power to stay here, or to return here if forced to leave?_" We're seduced by the beauty. But Franz sees something more beautiful. He can leave this place because he sees the glory beyond this life, the eternal beauty of faith in God. The more invested you are in the natural splendour and wonder of Radegund, the more awed you are, the more Franz's conviction will mean to you. Such is Malick's total control of the medium – theme and form impossible to divide. This, more than anything, is where the film's power lies, and how it moves beyond the sensory, becoming a homily to the transcendent power of faith. You don't watch _A Hidden Life_. You let it enter your soul.

As for problems, as a Malick fanatic, I found very few. You know what you're getting with a Malick film, so complaining about the length (it's just shy of three hours) or the pace is kind of pointless. You know if you like how Malick paces his films, and if you found, for example, _New World_ boring beyond belief, so too will you find _Hidden Life_. One thing I will say, though, there are a few scenes in the last act that are a little repetitive, giving us information we already have or hitting emotional beats we've already hit. It could also be argued that the film abstracts or flat-out ignores the real horrors of World War II, but that's by design. It isn't about those horrors, and _Thin Red Line_ proves Malick has no problem showing man's inhumanity to man. This film is not about the chaos and horror of combat. It's about the spiritual journey of an individual, and frankly, if Malick has suddenly injected a combat scene into it, it would have completely disrupted and undermined the tone. The same is true for politics; much like Sam Mendes's Great War movie, _1917_ (2019), _Hidden Life_ is not about politics, so to accuse it of failing to address politics is to imply it's obliged to address politics. Which it most certainly is not; no work of art in any medium is obliged to address anything, no matter its theme or focus. I've also seen a few critics say that the film is vague on the reasons for Franz's resistance. Which is astounding to me; I don't understand how you can watch the film and come out saying "_I don't get why he did that_". The entire film is fundamentally about why he did it. It's in every frame, every piece of dialogue and VO.

_A Hidden Life_ left me profoundly moved, on a level that very, very few films have (_Thin Red Line_ and _Tree of Life_ amongst them). Less a film than a spiritual odyssey, if you're a Malick fan, you should be enraptured. I don't know if I'd necessarily call it a masterpiece, but it's certainly close and is easily the best film of 2019 that I've seen thus far (the fact that it missed out on a single Academy Award nomination is a commentary unto itself). Malick's film have always had something of a Manichean viewpoint (the "_darkness and light_" of _Thin Red Line_; the "_way of nature and the way of grace_" of _Tree of Life_), but _Hidden Life_ is probably the most rigidly Manichean film he's ever done, with the Eden of Radegund contrasted with the evil of Franz's imprisonment. However, even within this rigid divide, Fani experiences cruelty in Radegund, and Franz experiences kindness in prison – the primal forces bleeding into one another's domains, with the film's thematic complexity never feeling forced for a second. _A Hidden Life_ is an exceptional piece of work in every way, and if you allow yourself to fold into it, the rewards are many.
Terrence Malick lovers are going to mesmerized by “A Hidden Life,” his latest, and perhaps even greatest, work in years. As a huge fan of the director’s films, this three hour ethereal work of art plays like an extended dream and is textbook Malick perfection. But for those who find his films trying rather than celebrating his cinematic genius, this will likely prove to be yet another bore.

Based on real events, this film is the story of a mostly unknown heroic Austrian farmer, Franz Jägerstätter (August Diehl), who refused to fight for the Nazis during World War II. This conscientious objector is ostracized by his village and eventually is threatened with execution for treason. Franz eventually is thrown into jail, but he never falters with his brave stance. Instead, he stands for what he feels is morally right, clinging to his faith and the love for his wife Fanni (Valerie Pachner) and children to keep his spirit afloat.

Admittedly, the film is much longer than it should be. There isn’t much more than 30 minutes of story, but it’s told with a philosophical beauty that eases the passage of time. That’s what makes the film an experience instead of a literal, traditional tale. Jörg Widmer’s cinematography is masterful with a lyrical, visual poetry. Wide-angle shots of waving wheat fields and snow-capped peaks of the Austrian Alps shrouded in the clouds are jaw-dropping. The film is a collection of sensory visuals that will make viewers feel as if they’re right there, reaching out to touch the just-rained-on grass or struggling with the animals on the farm. I could smell the thunderstorm. I could feel the crisp mountain air.

Malick is a complicated director who isn’t easy to endure much less like, but his storytelling is grandiose yet takes pause at the simplest aspects of life and survival. This is not a film for the impatient, as there is a lot of plowing, whispering, and slow-moving, indulgent visuals. It’s best to think of “A Hidden Life” as a meditation on morality, conviction, and existence, or a timely theme of spiritual struggles that arise from fighting for your beliefs and doing what you know is right.

Perhaps this is what the devout refer to as a “religious experience.” I am not a spiritual person, but the beauty of this film moved me.

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