Romance, the feeling, is a key component to most of Terrence Malick’s films, but he’s heretofore ducked and dodged from Romance, the genre. Days of Heaven, with its pulpy con plot beginnings, comes closest, but he maintains the same distance he did in Badlands by utilizing a dispassionate observer as our point of view into its world. As his career has gone on, he’s abandoned more and more such literary devices nearly every time out, coming closer to the pure shit (some critics would drop the article) of a lived cinema. Beginning with To the Wonder in 2012, he has gradually rid himself of plot, narrative coherence, or sometimes even common sense, chasing the Eden his characters so often find and lose. Song to Song is reportedly the last film he’ll make, for now, in this mold, and rightly so. Here he has perfected it. Here he has tired of sailing past his Indies, and found peace in consummated love.