You’d be hard-pressed to find two filmmakers who are more wildly different than Woody Allen and Terrence Malick. One is a notably prolific and economic filmmaker who still releases one movie a year well into his senior years, while the other is a perfectionist who labors over his films and has thus far released, on average, barely more than one movie per decade. One has an unmistakable public persona, while the other is a notorious recluse. One makes films about life in a great city, while the other turns his lens to nature and the experience of the rural. One is as much an atheist as his characters, while the other is a spiritualist who searches for “God,” whatever that may be, through the lens of the camera. Allen and Malick are, in many ways, perfect opposites. But after watching the strong new work by each of these talented filmmakers this past weekend, it became apparent that, at least in the shared thematic preoccupations of Allen’s Midnight in Paris and Malick’s The Tree of Life, these two ostensibly dissimilar filmmakers may have more in common than meets the eye.