Certainly, Malick would have been proud to conjure the rhapsodic visuals on display here, as cinematographer Christopher Blauvelt, often shooting in dusky half - light or lantern - lit darkness, scrutinizes the Oregon landscape with a keen eye worthy of the painter Andrew Wyeth; the dust -
smeared pastel palette is gloriously counter-intuitive, as is Reichardt's unusual decision to shoot these seemingly infinite vistas in the Academy ratio, making sky as looming a threat as earth.