To the Wonder (2012)

After visiting Mont Saint-Michel, Marina and Neil come to Oklahoma, where problems arise. Marina meets a priest and fellow exile, who is struggling with his vocation, while Neil renews his ties with a childhood friend, Jane.

Director:

Terrence Malick

Writer:

Terrence Malick

Stars:

Ben Affleck, Olga Kurylenko, Rachel McAdams

1 win & 1 nomination.

Cast

Cast overview, first billed only:
Ben Affleck	...	Neil
Olga Kurylenko	...	Marina
Rachel McAdams	...	Jane
Javier Bardem	...	Father Quintana
Tatiana Chiline	...	Tatiana
Romina Mondello	...	Anna
Tony O'Gans	...	Sexton
Charles Baker	...	Carpenter
Marshall Bell	...	Bob
Casey Williams	...	Neighbor #1
Jack Hines	...	Neighbor #2
Paris Always	...	Classmate #1
Samaria Folks	...	Classmate #2
Jamie Conner	...	Teenage Girl with Baby
Francis Gardner	...	Woman at Wedding

Storyline

Neil (Ben Affleck) is an American traveling in Europe who meets and falls in love with Marina (Olga Kurylenko), an Ukrainian divorcée who is raising her 10-year-old daughter Tatiana in Paris. The lovers travel to Mont St. Michel, the island abbey off the coast of Normandy, basking in the wonder of their newfound romance. Neil makes a commitment to Marina, inviting her to relocate to his native Oklahoma with Tatiana. He takes a job as an environmental inspector and Marina settles into her new life in America with passion and vigor. After a holding pattern, their relationship cools. Marina finds solace in the company of another exile, the Catholic priest Father Quintana (Javier Bardem), who is undergoing a crisis of faith. Work pressures and increasing doubt pull Neil further apart from Marina, who returns to France with Tatiana when her visa expires. Neil reconnects with Jane (Rachel McAdams), an old flame. They fall in love until Neil learns that Marina has fallen on hard times. ...

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Plot Keywords:

faith | crisis of faith | love | priest | daughter | 

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Genres:

Drama | Romance

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Motion Picture Rating (MPAA)

Rated R for some sexuality/nudity

Details

Official Sites:

Official Facebook Official site

Country:

USA

Language:

English French Spanish Italian Sign Languages

Release Date:

22 February 2013 (Ireland)

Also Known As:

Project B

Filming Locations:

Mont Saint-Michel, Manche, France

Box Office

Opening Weekend:

$116,551 (USA) (12 April 2013)

Gross:

$534,746 (USA) (17 May 2013)

Company Credits

Production Co:

Brothers K Productions, Redbud Pictures

Technical Specs

Runtime:

112 min

Sound Mix:

Dolby Digital Datasat

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Multiple sources, including The Los Angeles Times, reported that the film was shot under the title "The Burial" after a listing for the film was discovered under that name on a French film database website. However, producer Sarah Green stated, "It is not called 'The Burial'. We don't know what 'The Burial' is. Somebody else attached that name, but there is no movie that we're working on called 'The Burial.'"

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Goofs

When Jane and Neil get out of their car in the midst of the bison, cameras reflected in the car windows and doors in various shots.

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Quotes

Marina: Love that loves us... thank you.

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Connections

Referenced in At the Movies: Venice Film Festival 2012 (2012)

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Soundtracks

"Piano Concerto No. 2 in F Major, Op. 102"
Composed by Dmitri Shostakovich
Performed by New Zealand Symphony Orchestra
Conducted by Christopher Lyndon-Gee
Courtesy of Naxos
By arrangement with Source/Q

User Reviews

'Life's a dream. In dream you can't make mistakes. In dream you can be whatever you want.'

Visiting the world of Terrence Malick in many ways must be differentiated from 'watching a movie' and that is likely one of the reasons there are so many honest people who love movies who find IN THE WONDER a major disappointment, 'a mess', 'not a movie' and other responses. That Terrence Malick has a gift of blending film and thought and philosophy and music and silence into a meditation on his views of life, of love, of the human condition is a given. The 'story' is nonlinear, given in bits an pieces like the momentary light fireflies offer in Oklahoma nights or the strains of themes from the classical music with which he bathes his quiet moments, themes that begin, echo, go nowhere, and is about those very personal responses to life as it happens to us or as we perceive it has a meaning, a direction, a connection to God.

In view of that it seems a bit odd that Magnolia pictures offers a synopsis of the 'plot' and that should be shared here: 'Neil (Ben Affleck) is an American traveling in Europe who meets and falls in love with Marina (Olga Kurylenko), an Ukrainian divorcée who is raising her 10- year-old daughter Tatiana (Tatiana Chiine) in Paris. The lovers travel to Mont St. Michel, the island abbey off the coast of Normandy, basking in the wonder of their newfound romance. Neil makes a commitment to Marina, inviting her to relocate to his native Oklahoma with Tatiana. He takes a job as an environmental inspector and Marina settles into her new life in America with passion and vigor. After a holding pattern, their relationship cools. Marina finds solace in the company of another exile, the Catholic priest Father Quintana (Javier Bardem), who is undergoing a crisis of faith. Work pressures and increasing doubt pull Neil further apart from Marina, who returns to France with Tatiana when her visa expires. Neil reconnects with Jane (Rachel McAdams), an old flame. They fall in love until Neil learns that Marina has fallen on hard times.'

It is possible to give each of these basically silent (voice over) characters an interpretation but instead it feels as though Malick is simply watching four people respond to the world as it affects interpersonal relationships. Father Quintana, in his painful sadness at trying to find the light that God once provided him to nurture his fellow man, appears be whispering that the reason for our breakups, for our fragmented lives and relationships, is that we can no longer see God. If we could, we would be whole again. Yet even this concept seems less important than every person in the presence of this film finding his/her own meaning: Malick seems to be providing that privacy, that distancing from making his 'characters' fully credible that allows each of them to become part of our own longings and angst and faith that somewhere, sometime this will all make sense - if it is supposed to.

The cinematography is provided by Emmanuel Lubezki and the musical score is attributed to Hanan Townsend: there should be mention of the use of themes from classical composers - Wagner's Parsifal themes and Henryk Górecki's symphonic music being the two most often used. But in the end this is a Terrence Malick meditation, and as such it is the way he combines the images, the light, the locations, the music and the actors to make us ponder.

Grady Harp