Terrence Malick’s continued examination of the conflict between a spiritual ideal and reality resumes in his new film, Song to Song. The erudite director fixes his gaze on the Austin, Texas music scene where shades of red and blue, movement and stillness, and penury and luxury inform a dense text on the contradictory forces that propel people in and out of happiness. It is in equal measures his most fragmented work and his most narratively driven since at least The New World. And while it shares many of the thematic discomforts found in his previous narrative film, Knight of Cups, i.e; a petrifying fear of nothingness and a hollow longing for experience, it’s a notably more romantic and buoyant enterprise. While it’s unlikely to persuade Malick’s dissenters back into the fold, those who reveled in the romanticism of The New World may find something in Song to Song to admire.