To the Wonder is about a way of seeing—both seeing the world around us, and seeing ourselves properly, something he embodies not just on screen but in his working process. It's no coincidence that it begins with the point of view of Marina and Neil's own cell phone camera (as they travel by train "to the Wonder"). It's the focusing of our attention via lenses on life: perceiving the beauty in the pretty and the ugly, the thrilling and the mundane, and seeing how it all points heavenward. Christ in all; "All things shining" (The Thin Red Line).
Like Adam before us, and Noah, and Abraham and Israel, followers of Jesus are called to bring light to the darkness; to spread the illumination like in those candle light Christmas Eve services of our youth; or like that little blue candle and mysterious wispy flame in The Tree of Life. It's Ruach. The Spirit of God. Reminding us of hope, empowering us to carry on.
With its emphasis on the duality of nature and by association man, Days of Heaven envelops us in the lack and loss of Paradise. As reflected in its title, heaven is temporal in the film—an all too evanescent state of dwelling. The film thus exudes a palpable Edenic yearning—a longing to recapture our lost wholeness of being. In the meantime, we are stuck in a world where the glory and avenging power in nature are both intensely evident—a troubling paradox in which, Malick infers, ultimate reconciliation can be achieved only in death.