kittykhole: they put a cat in charge of the train system in japan. :/ WHY DID I NOT KNOW ABOUT THIS CAT BEFORE HER NAME IS TAMAAND SHE’S THE STATIONMASTER AT A TRAIN STATION IN JAPANSHE GREETS ALL THE PASSENGERSAND SHE HAS HER OWN OFFICEAND SHE’S PAID IN CAT FOODAND SHE IS AN EXECUTIVE OF A RAILROAD STATION  AND LOOK AT HER the trains are decorated with cartoon versions of her since she’s their mascot as well

kittykhole:

they put a cat in charge of the train system in japan. :/

WHY DID I NOT KNOW ABOUT THIS CAT BEFORE

HER NAME IS TAMA
AND SHE’S THE STATIONMASTER AT A TRAIN STATION IN JAPAN
SHE GREETS ALL THE PASSENGERS
AND SHE HAS HER OWN OFFICE
AND SHE’S PAID IN CAT FOOD
AND SHE IS AN EXECUTIVE OF A RAILROAD STATION 

AND LOOK AT HER

image

the trains are decorated with cartoon versions of her since she’s their mascot as well

image

(Source: theleftamygdala, via womenkickingass)

GPOY 

GPOY 

A more conventional film would have assigned a plot to these characters and made their motivations more clear. Malick, who is surely one of the most romantic and spiritual of filmmakers, appears almost naked here before his audience, a man not able to conceal the depth of his vision.

“Well,” I asked myself, “why not?” Why must a film explain everything? Why must every motivation be spelled out? Aren’t many films fundamentally the same film, with only the specifics changed? Aren’t many of them telling the same story? Seeking perfection, we see what our dreams and hopes might look like. We realize they come as a gift through no power of our own, and if we lose them, isn’t that almost worse than never having had them in the first place?

There will be many who find “To the Wonder” elusive and too effervescent. They’ll be dissatisfied by a film that would rather evoke than supply. I understand that, and I think Terrence Malick does, too. But here he has attempted to reach more deeply than that: to reach beneath the surface, and find the soul in need.