f64154c0_ties_in_Malick_s_Films__Part_I__Badlands
[Image] CLOUDS AND SKY [Days of Heaven] Again, clouds and sky take up large portions of many shots, although none of the characters notice their beauty as Kit does in Badlands. Standouts include: when the train moves across the suspension bridge (shows puffy popcorn-like clouds in the sky, which take up at least two-thirds of the screen); shots during wheat harvest (especially the threshing scenes) feature a lot of sky and clouds; the shot of the sky over the pond at the Farmer's before Abby and Bill decide to deceive the Farmer features clouds that are dark and foreboding; a sunset shot includes clouds, on the river when Bill, Abby and Linda are on their flight to freedom. [The Thin Red Line] Tall talks to Staros about the "eos rhododactylos," or rosy-fingered dawn, a Homeric reference. Bead looks at the sky through the tree leaves before he dies. Planes in the sky bomb the Japanese bunker on Hill 210. The Japanese officer who tells Dale "Some day you too will die" looks at the sky before he dies. [Badlands] 
Malick uses a low horizon in his sky shots. The sky and cloud-filled skies, sometimes gray and threatening rain, make up three-quarters of the frame in many shots, including: when Kit sends up the red balloon; when Kit approaches Holly's dad while he paints a sign; when Kit and Holly drive away from their home in the woods after Kit kills the bounty hunters (notably, the skies are gray); a huge pink thunderhead is shown following the distinctive shot of Kit standing with his arms slung out over his rifle. Clouds fill the frame in the dawn shot as Kit and Holly near Montana (and Kit exclaims "God, what a sight!"). Clouds and sky are also prominent when: Kit shoots the helicopter police officer; Kit stands on his car after deciding to surrender; Kit is at the airport. The final shot of the film is made up entirely of an airplane-window view of clouds, with the sun setting behind them.
Similarities in Malick's Films, Part I
Badlands