Not only does that reading explain the fervent use of voice - over, never more present here, recounting and musing on each experience with that hushed, inimitable whisper, but it also explains the unique aesthetic of Malick's films: his desire to
capture fragmented but ideal forms of corporeal, natural and
architectural beauty, rendered so by Emmanuel Lubezki's superlative cinematography and some elliptical, compelling editing.
Clements
captures alternately quotidian and filmic scenes of
fragmented tableaus and narratives, perspectival disruptions, and the passage of time by painting her immediate surroundings and
architectural interiors from films.