Saw Terrence Malick’s “The Tree of Life” in Luxembourg’s Utopolis last night. I was fairly succesful in dodging spoilers, trailers or synopses about the movie before I saw it. I wanted to have a clean slate and an open mind with this film, which is why I’m glad I got to see it now and didn’t have to wait until the German release of June 16. Since last night I have fully emerged myself in reviews, opinions, commentary, Cannes press conferences and pieces from “The Tree of Life” soundtrack.

I loved the movie, and I’m happy to see that it has been critically well received as well. It tackles a lot of big topics, and I’m looking forward to discussing them when more people have seen it.

One particular motif in the film that has resonated with me very much is that of doors. Opening them, closing them, looking through them, going through them. Doors are of course not a new or original symbol in the arts, but I was impressed with the powerful ways Malick uses them in “The Tree of Life”.

Almost exactly one year ago, the TV series “LOST” came to an end. “LOST” has been something of a religious experience for me (as it was intended, I think) and especially the final episode came very close to offering a glimpse of spirituality that rang very true to my personal idea, if I ever had one, of an afterlife.

“The Tree of Life” explores similar terrain, but that’s about as much as I want to say now without giving away too much of either the movie or “LOST”. Except for one last thing:

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