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This plays as some sort of response to Scorsese's Silence, in that both films contend with theodicy through the challenges of "embodying" Christ in a post-lapsarian world whose collective state of hereditary sin seems to be at its worst. Tangential note: I sensed a connection to Dovzhenko, which is probably coincidental.
Malick is one of the few major living American filmmakers who's unafraid of believing in something.
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