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Analysis Of Terrence Malick's Tree Of Life

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The American director Terrence Malick’s 2011 film Tree of Life can be properly called a philosophical film on an epic scale. Yet the way in which Malick achieves this almost transcendent feeling is through a radical contrast in the narrative between microcosmic and macrocosmic worlds. One of the most alluring sequences portrays the foundation of the universe, the advancement of life ( with the inclusion of a few deeply emotional dinosaurs), and then more precisely and figuratively, the termination of time, a period when the dead of each time period and all ages will emerge and move around on a heavenly beach. Whereas the main plot of the story, although not itself unfolding according to any traditional narrative structure, follows the lives of a Texas family from the perspective of one of three children, this family tale is contrasted with Malick’s inspired filming of the growth and formation of life as well as the universe. Malick therefore situates the family narrative within the grander cosmological development of existence itself, and thereby raises the simple, individual life to a position of simultaneous significance and insignificance: the problems experienced by the family seem trivial compared to the great cosmological accretions shown in the work, but the very fact that they are contrasted endeavors to show that every individual existence is as much a part of this great historical becoming. Malick therefore offers us in Tree of Life an almost impossible endeavor:

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