Song to Song

In this modern love story set against the Austin, Texas music scene, two entangled couples — struggling songwriters Faye and BV, and music mogul Cook and the waitress whom he ensnares — chase success through a rock ‘n’ roll landscape of seduction and betrayal.


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  • ★★★★★ review by Eli Hayes on Letterboxd

    I believe the reason why Terrence Malick's aggressive cutting and fracturing of his footage -- the self-destructive, almost imploding nature of his editing process -- neutralizes his narratives and consequentially makes them feel so complete (as opposed to traditional narratives), is because of the way in which our minds perceive, dissolve and rebuild experience through memory; our lives, some so deeply incomplete and yet still the most generally complete notion that we're capable of considering, are but fragments and deconstructions and reconstructions and, thus, the crafting of this sort of splintered cinema is what renders his films so conclusive and absolute, for all we have to compare them to are our own shattered and superglued existences.

  • ★★★★½ review by Arielrocks5 on Letterboxd

    This is probably the loosest and most alienating I've seen Malick get (which is saying a LOT). The cuts are more aggressive and the actors are given full freedom with what they say and can do, so pretty much anything can and probably will happen, and it's all in the case of Malick to make a create a complete film out of it.

    Somehow, through his own magic, he pulls it off with flying colors.

    Probably the most enthralling piece of cinema to grace us this year, both from narrative and technical standpoints. Both floor the viewer with stuff previously seen in his previous installments ("To The Wonder", "Knight of Cups"), this time at full force and never stopping.

    Rooney, Fassy, The Goose Man, and the JFK's wife are all absolutely phenomenal, showing how the act of movement and their expressions can be enough to convey the deepest and darkest emotions their characters are going through.

    Music is off the charts too (when Danse Macabre by Camille Saint-Saëns started playing I nearly lost my mind), on top of the camera work and cinematography.

    But again, much like most of my experiences with Malick's film, I don't think one viewing is enough to get on his wave length with what he's trying to say and showcase, and it always leaves me hungry for more (these thing do NOT feel two hours long and it always makes me sad when they have to end ((also that final shot is so lovely)) ), so I can't wait to watch it again with friends later as the weeks go on.

    I can't recommend it to everyone, but for those willing to give it a shot, are in for an experience unlike any other they'll see this year...

    Also yes; waiting this long to see Rooney's Belly under Emmanuel Lubezki's cinematography was SO WORTH IT.

  • ★★★★½ review by josh lewis🌹 on Letterboxd

    " none of this exists... it's all just free fall"

    you know how ya'll felt about La La Land? same for me but with this

  • ★★★★★ review by Eli Hayes on Letterboxd

    Malick's post-TTOL deconstructionist narrative trilogy has very little do to with the notion of traditional "character" or "character development" and more to do with utilizing human bodies as avatars to convey psychological complexities of the collective unconscious, not so much representative of individual people as representative of models embodying a slice of the autobiographical pie. His method is fundamentally opposite to how we're meant, or how we've been taught, to perceive "character" or the presence of bodies & minds on screen; rather than observing the whole of an individual, a complete picture of a person, and re-tracing our steps to uncover the smaller, more intimate psychological details of the individual's inner clockwork (the popular "character approach"), we're instead presented with those intricacies head-on and, from the smaller, experiental units & emotional complexities, we're asked to form the tossed aside, simpler shell of the "character," their entirety, what we've been schooled to believe is the necessity or bulk of a human being's cinematic personality, but what is really just skin which, once shed, leaves room to comment on not only the individual of focus but, through them, on their environment and the culture which has shaped them (and vice versa).

  • ★★★★★ review by Wes on Letterboxd

    ryan gosling in a dirty white tank top with his biceps showing is pride month smiling down on me

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