This movie is the culmination of Terrence Malick’s spiritual quest. The mysterious Texan, who has not given interviews for 40 years and has not appeared in public since returning to the cinema (after a 20-year hiatus) in “The Thin Red Line” in 1999, touches on spiritual themes. “Tree of Life” (The Golden Palm in Cannes), “Doubts”, “The Knight of Cups” or “A Song to Song” – all of these films were theological syncretism, but the mindful viewer could find Christian inspiration in them.

The “hidden life,” in my opinion, is his complete transition to Christianity. Maybe even a Catholic?

Malik is the only contemporary director of metaphysical cinema with whom Hollywood’s greatest star works with such passion. Perhaps this is due to the fact that he is a natural theologian and that ecology is in fashion in the “dream factory”. However, it delves much deeper, setting a poetic sign of division into a complete divine creation and a human defect that defiles the planet.

This is Malik’s first film in years with a traditional narration, albeit not without its sophisticated theological language. The first without Hollywood stars and languages ​​other than English.

Malik provided a touching story about a Catholic martyr who for moral reasons refused to serve in the Wehrmacht. Francesc Ygerstätter (here played by August Diehl) is the perfect hero at a time when the world is becoming secular and becoming secular. On 1 June 2007, Pope Benedict XVI issued a decree recognizing Austria as blessed. Malik saw in his life a universal story of the struggle for his beliefs and freedom of conscience.

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In my opinion, this film is also an argument with “Silence” by Martin Scorsese, who said that you can cooperate with the anti-Christian regime as long as you keep Jesus in your heart. Malik reveres the man who does not accept such a position.

The Texas filmmaker introduced us to a film that not only reminds us of the importance of freedom of conscience (the war movie “The Rise of the Survivors” produced by Mel Gibson nearly four years ago), but elevated theological depth to the level of Tarkovsky’s or Bryson’s works.

“Traitor” dir. Marco Belluccio