Freelance film critic, columnist, and Nolanfan Brendan Hodges, has contributed his extensive analysis of Christopher Nolan’s latest feature Dunkirk to RogerEbert.com. His analysis focuses on the use of time and its structure, so beware there are spoilers. Here is a sneak peak below:
“Dunkirk” is a technical marvel, but Christopher Nolan’s ambitions run deeper. Abandoning the familiar language of most war and action movies, this is the tightest, most confident, most intense, and in many ways most idiosyncratic of Nolan’s films, and it’s all the better for it. But what will be most surprising to audiences is that while you’re fully engaged in the IMAX-sized set pieces that sometimes make you forget to breathe, “Dunkirk” blossoms in your mind’s eye, a new kind of film that can only makes complete sense within the infinite canvas of your consciousness. And in a trick that almost sounds like the plot of “Inception,” Nolan accomplishes this without you noticing it’s even really happening.