If life is a song, as narration from Rooney Mara’s Faye in “Song to Song” suggests, then rest assured that writer/director Terrence Malick is following the spasmodic tune in his own head with dogged determination. In what appears to be the final feature film made in his post-“The Tree of Life” productivity period, the cinema’s philosopher laureate continues to push himself further into avant-garde, non-narrative forms of storytelling. This latest work might be the definitive achievement of the bunch as Malick probes and roves more than he presumes and pronounces, making the spirit of the film match his intellectually curious aesthetic.
Not one to slow down in his seventies, Malick expands the scope of his deeply interior characterizations to encompass an entire ensemble. His past films normally only allow audiences entry to a select few characters’ headspace through pensive narration. In “Song to Song,” that applies to aspiring musicians Faye and BV (Ryan Gosling) as well as teacher-turned-waitress Rhonda (Natalie Portman) dragged into their orbit.
Each of these three tries to follow their motivating forces – love, art, protection – by trusting their instincts. Yet these often decisions lead them back to a sinister music producer Cook, played with a primate-like ferocity by Michael Fassbender. He’s commercialism incarnate, simultaneously abhorrent and alluring. Cook provides, but he also demands. When the impulse to love crosses into lust, he’s there to cash in.
“Song to Song” hums by on the inclination of Malick’s emotional logic, with Emmanuel Lubezki’s camera (seemingly unresponsive to the laws of gravity) there to capture his vision in all its grimy intimacy. He’s not big on traditional beauty here; long lens shots flatten out the images, and jump cuts within the same scene provide a jarring jolt to the mundane. But there’s something more honest about the ever-searching indeterminacy of the film. Malick seems less fixated on answers and more interested in simply tracing the development of a musical movement. The end result is far from melodic, though that matters not. For all the seeking and yearning in the story and the form itself, the free-flowing riff makes for a perfect means of expression. B+ /