Early on Good Friday, I began writing this essay on a film I watched at the Twin Cities Film Fest (TCFF) in 2019. I haven’t had the opportunity to review this Terrence Malick film until now, but it has lingered in my mind even after seven years. Since then, Malick has not released any new films, as he is still working on The Way of the Wind, which depicts various episodes from the life of Jesus through parables. As mentioned in this article, actor Géza Röhrig, who portrayed Christ, completed filming seven years ago. Malick is well-known for his painstakingly lengthy editing process, so who knows when the film will finally be finished.

It wouldn’t be the first time that Malick explores the theme of deep faith. A Hidden Life focuses on Franz Jägerstätter, an Austrian who was a devout Roman Catholic. He vehemently refused to fight the Nazis during World War II and declined to pledge loyalty to Hitler. Jägerstätter couldn’t reconcile being a Nazi and a Catholic at the same time. In his view, serving Hitler would be a sin. Given we are at war as I type these words, this film is more relevant than ever.

Franz (August Diehl) was a humble peasant farmer from an idyllic upper Austrian village, St. Radegund, where he lived harmoniously with his wife, Fani (Valerie Pachner), and their three daughters. The Jägerstätter family enjoyed a close-knit rural life, but everything changed when WWII erupted, and the able-bodied men of the village were summoned to join the fight with the Nazis.

While there are countless anti-Nazi films out there, A Hidden Life sets itself apart from the pack by centering on personal faith, where one’s profound connection with God guides his conscience. Although he is very private and refrains from giving interviews to discuss his personal beliefs, it’s apparent that Malick’s faith profoundly influences his filmmaking. His films are consistently marked by themes of grace, faith, and redemption. A Hidden Life aligns with his penchant for contemplative, subtle grace rather than a ‘preachy,’ in-your-face approach.

As a believer, I appreciate that Malick portrays Franz’s steadfast faith through moments of prayer and solitude with the Lord. It also inspires and challenges me in regard to putting faith into action. Franz didn’t oppose fascism to lead a movement or chase some grand political ambition, but because he sensed the evil in Nazism. One of the most memorable lines in the film reflects Franz’s deep convictions.

If God gives us free will, we are responsible for what we do or what we fail to do.

The first half shows Franz grappling with his own beliefs as the world around him goes in a different direction. Living in a close-knit community means that everyone notices when he declines to perform the ‘Heil Hitler’ salute, leading his neighbor to label him a traitor. Even the local priest believes he’s in the wrong, insisting he has ‘a duty to the fatherland.’ It’s never easy to swim against the current, as one risks becoming a social outcast in his own community, which is exactly what Franz endured.

He can only depend on his faith and the love and support of his wife and children. Malick’s screenplay illustrates what real heroism looks like; it’s not just Franz who displays remarkable bravery, but also Fani, who reassures her husband, ‘Whatever you do, I’m with you.’ Their relationship is warm, romantic, and even playful as they play with the kids. It’s rare to witness such a beautiful portrayal of marriage that truly embodies ‘to have and to hold … for better, for worse … till death do us part.’

The film also exposes the hypocrisy of the Catholic Church, as the papal office back then didn’t explicitly condemn the Third Reich. Franz had meetings with Bishop Joseph Fliesser from Linz, who also urged him to back down. It’s clear that the church didn’t ‘stand up to evil’ as Franz did, nor did they support him when he was locked up for months. No sympathy for his family, either, as Fani and her daughters faced increasing hostility from the villagers due to her husband’s choice.

The performances are exceptional all around. Berlin-born Diehl gives a fantastic, nuanced portrayal of Franz; his quiet defiance is genuinely compelling. You can almost sense his inner turmoil, even with his stoic face, nary of any cheesy melodrama. Pachner is equally amazing as Fani… soulful and strong, she stands by her own convictions rather than just submitting to her husband’s decisions. A stellar international cast made up the ensemble: the late Michael Nyqvist and Bruno Ganz (who played Hitler in Downfall), Jürgen Prochnow, Matthias Schoenaerts, Franz Rogowski, and Tobias Moretti, to name a few.

Authenticity plays a crucial role in telling stories of real people, and Malick crafted the narrative using letters exchanged between Franz and Fani during his imprisonment. The voiceovers draw directly from these published letters, and Malick sought the insights of Franz’s primary biographer and theologian, Erna Putz, during the film’s production. Malick also filmed on locations where the Jägerstätter family lived. Several scenes were shot at the actual farmhouse in St. Radegund that belongs to Franz’s friend and neighbor, Eckinger.

I’m glad I had the chance to experience this film on the big screen, as the cinematography is truly breathtaking and atmospheric. The moments of Franz and Fani cutting and gathering hay in a lush green field, with the grand mountains in the background, are some of the most stunning visuals I’ve ever seen. Malick often uses nature to convey a sense of divine presence, and here he displays true beauty found in the simplicity of farming and rural living.

Shot in Austria, Germany, and Italy by German cinematographer Jörg Widmer, we are treated to sweeping landscapes, wide-angle shots, and the golden hour lighting that we have come to associate with Malick’s works. Widmer has worked with Malick on multiple films as a key camera operator, but this was the first time he took on the role of the main DP. A Hidden Life marks Malick’s first film entirely captured in digital format, and Widmer talked about introducing him to the RED Dragon cameras here. The movie also sounds amazing, thanks to the gorgeous, violin-heavy music by James Newton Howard. It certainly has that spiritual vibe and a poignant, haunting quality that perfectly complements the story.

There are quintessential films that are popular for Easter, such as The Passion of the Christ (2004), Risen (2016), Ben-Hur (1959), and family-friendly ones like The Prince of Egypt (1998). I think A Hidden Life should be among them, even though it runs close to 3 hours (Malick’s longest film yet), and its slow pacing might be tough for some viewers. I found it to be absorbing and profoundly moving; I remember tearing up a few times while watching it, and even just seeing the trailer makes my eyes well up.

A Hidden Life is my top pick among the six Malick films I’ve watched so far. For open-minded viewers, this film transcends a sensory experience; it’s a deep spiritual journey that focuses on the humanity of an ordinary person and what it truly means to truly walk the steps of Christ.