If you’re the kind of movie-goer who prefers a simple, linear plot, The Tree of Life probably isn’t for you. But if you’re open to a dynamic film, filled with breathtaking imagery, meticulously planned shots – one that’s laced with below-the-surface meaning and symbolism – then The Tree of Life has plenty to offer.

At its core, the film, written and directed by Terrence Malick, is a coming-of-age story about the loss of innocence. The movie follows Jack O’Brien (played by Hunter McCracken and Sean Penn) from the time he’s just beginning to grow, to when he raids a neighbor’s panty-drawer, to when he sees someone die for the first time and when he wants to kill his father. Malick successfully shows the world from the eyes of a curious child during each distinct point of Jack’s childhood. For example, when Jack is a baby, the camera is low angled, showing the world from the eyes of an infant. As Jack matures, the camera angle rises.

The film juxtaposes an extended montage of the creation of Earth, along with the strife of Jack’s coming-of-age and [SPOLIER ALERT!] the death of the family’s second son. [SPOILER ALERT OVER]  The montage hints at the feebleness of existence and how we try tirelessly to matter in the universe. But, ultimately, it says we are minute beings that do not matter in the grand-scheme of things. Malick’s shots of boundless cosmos and the creation of Earth contrasts with the conflicts and dram’s of Jack’s life. For him, and the rest of the O’Briens, their problems seem mountainous. But when Malick uses visuals to compare us to the endless galaxies, it makes viewers step back, and reflect on the comparitive magnitude of our problems.

An attentive viewer will realize Malick’s world views by picking up on his subtle associations between each image. The scenes of nature seem to be what have caused some reviewers to yawn at The Tree of Life. But with close scrutiny, the scenes correlate greatly to Malick’s message. For example, there are a few shots of a fish that swims through the ocean by contorting itself – seemingly writhing in pain to swim meter after meter in the expanse of the sea. It connects to Malick’s message of the futility of life and relates to the central story of Jack and his family.

Jack’s father, Mr. O’Brien (Brad Pitt) , is so hard on his children because he believes they need to be tough to succeed in the real world. In Mr. O’Brien’s mind, being an executive at a high ranking company is the epitome of success. Ironically, when Jack grows older, he becomes a prominent CEO. But Jack’s not satisfied, or happy (discernible by his aimless wandering in the unknown terrains, and by the lack of warmth and the over-sanitized feel of his home) – the fact highlights the frivolity of Mr. O’Brien’s actions, and holistically, life.

The movie is not your typical Hollywood film. It’s not a film that just “washes over you.” It’s a masterpiece that requires active thought. To get the most of the film, one needs to consciously search for meaning in every detail Malick has woven into the movie. There are points in the film where seemingly irrelevant shots arise from nowhere. But with inquiry, I found myself realizing the significance of nearly every seemingly-impertinent shot.

The subtle, fine touches are what made the film truly beautiful.

Besides the ubiquitous symbolism, the cinematography was my favorite part. I could sense the tireless thought that went into every stunning shot. The sometimes rich, and other times muted color, the expansive shots of nature, the quaint shots of suburban neighborhood – they all captivated me in unique ways. Malick and his cinematographer, the Oscar nominated Emmanuel Lubezki, shot the film in a way I had not seen before. The inverted shots, the use of the “swinging” camera (when the boys are on the swing), and the novel aspect ratio; everything seemed innovative. Even if the plot somehow manages to fly over your head, the movie is still a two hour treat for your eyes.

Malick also implements music creatively throughout the film. For example, he shows Brad Pitt playing an organ, performing a religious tune. His song plays over a montage of the O’Brien daily life. It emphasizes the religious, structured nature by which Mr. O’Brien goes about his days.

The movie, set for wide-release in America on July 8th, has already received several accolades. The Tree of Life was the winner of the Palme D’Or (French for “Golden Palm”), the Cannes Film Festival’s highest honor. It’s no wonder. Malick put his blood, sweat and tears into ensuring that his film is amazing for every viewer.  For each theatre he sent his movie to, he included a list of requirements that he expects fulfilled by every projectionist. He writes, “ Project the film in its proper 1.85:1 aspect ratio. The correct fader setting on Dolby and DTS systems is 7. I ask that faders be kept at 7.5 or even 7.7, system permitting…” This shows how much Malick cares that his film is seen as he meant it to be.

In essence, the film is a beautifully-crafted bildungsroman that expresses a director’s personal perceptions of the world, and provokes thought between every carefully-engineered shot. Every image, even during anti-climactic scenes, is captivating. The acting is superb. The fastidious efforts that went into the movie shine. The Tree of Life truly is a cinematic gem, a must-see for all lovers of film.