Welcome to NOLAN/TIME, which explores how we watched the clock in Christopher Nolan’s films.
The last piece of the Inception soundtrack is also the music that sounds before the credits, while Leonardo DiCaprio’s character, however, achieves his catharsis just before the notorious plan to separate scenes turns out to be, in the words of the director himself, the final kick of the film. film. Array If you know, you know it, and if you don’t know, we probably won’t ruin it here. But the song, composed through Hans Zimmer, has an undeniable name: “Time”.
And time is gone, Nolan’s favorite toy, whether it extends it to exponential lengths in Inception or vice versa, as the advances of his latest film Tenet say. But Nolan’s been here a lot longer. Since his first feature film After broke the festival circuit and made Nolan a promising director in the early 2000s, he has reworked his linear narratives in one way or another in virtually every single film he has directed.
The effects have paid off spectacularly. To date, Christopher Nolan’s films have grossed more than $4.7 billion worldwide, more than all five administrators around the world. Nolan’s films also enjoy, for the most part, widespread critical respect; his average career on Rotten Tomatoes is 86%.
But as for art, none of these themes as much as the films themselves, which Nolan shows us on screen. From Suite’s last tortured moments and Memento’s violent uncertainty, which he also wrote, we know exactly what kind of filmmaker he was: a watchmaker who would make sure the scenes were exactly located, programmed to land. The order they needed to hitale the maximum impact; and a ruthless agent with a stab at the end of the film, either from a wonderful short story and a director.
Nolan’s films have not reached the heights that the timekeeper wants, yet they have become interesting, including Tenet, an unreputed blockbuster that turns out to be the film Hollywood has put its hopes of returning to the COVID-19 pandemic. It remains to be noted whether he delivers or not.
What is certain, however, is the opportunity to revisit a filmmaker’s obsession with his family concept. That’s why Observer is dedicating this series – NOLAN/TIME – to better perceive them in the days leading up to Tenet’s official release in the United States. We will update this list and our files with pieces as they are published, and invite you to register to explore the director’s fascinations and how they manifest themselves on the screen.
Emily Zemler evaluates the mistakes and mistakes of Nolan’s latest film.
Charles Bramesco isolates why the highlights of The Dark Knight hit so hard.
Brandon Katz interviews psychologists to isolate why Nolan’s characters feel so motivated and why they are so captivated by their stories.
Brandon Katz explores between two critically acclaimed films that changed his career: Dunkirk and Schindler’s List.
Rafael Motamayor explains how Gotham City, both in design and in the environment, evolved as the mysteries of the Dark Knight trilogy were revealed.
Eric Vilas-Boas wonders how Nolan’s first feature films have followed him in every film since.
Follow this area as more and more NOLAN/TIME stories are published every day until Tenet launches.
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