Yeah and that’s a debate that many people have. I usually mention Saving Private Ryan and the World War II veterans who watched it and said it felt like they were back there. But then Dunkirk came out and wasn’t as gory as Saving Private Ryan but veterans still felt like they were back there as well. So it’s just based on how you make the film right?

[Richard Armitage] Yeah and I also think that as you take a viewer through this world there’s a debate to be had about when we’re faced with that extreme violence do we really see it. Or does our natural instinct make us look away. How much do we really face? In Dunkirk some of those shots where the bodies are exploding right in front of us, it’s almost blurred in the foreground. The brain and eye can only take so much, which I believe. The brain and the eye are very clever as they shield us from a lot of things.

So I’m guessing you did like Dunkirk then?

[Richard Armitage] I loved it. It’s my film of the decade. The thing I loved so much about Dunkirk was the sound design. The sound design is extraordinary and I’m guessing it’s going to win a lot of awards.

Paul Thomas Anderson, the director of “The Master” and “There Will Be Blood” and an admirer of “Dunkirk,” hails the film’s economical quality. He notes that there’s very little dialogue, which contributes to its power. “Its practically wordless structure was so exciting to me,” Anderson tells Variety. “It’s stripped down to bare essentials.”

Anderson is one of many directors who have singled out “Dunkirk” as a favorite from 2017. Filmmakers Edgar Wright and Rian Johnson posted rave reviews of the movie on Twitter in July. Wright called it a “powerful, immersive, intense masterpiece that demands it be seen on the big screen,” while Johnson called it an “all-timer.”

cooldude wrote:

Starts talking about Dunkirk at the 35 second mark.

The film wasn’t made with awards in mind, he says, hence the decision to release it in July instead of at the end of the year with the other plaudits hopefuls. But armed with rapturous reviews and powered by a dearth of front-runners, “Dunkirk” increasingly looks like the film to beat on Oscar night. At the very least, it should give Nolan his first nomination for director.

“We saw it as a blockbuster,” explains the maker of juggernauts like “The Dark Knight,” “The Dark Knight Rises,” “Inception” and “Interstellar” as well as the indie breakout “Memento.” “It’s a strange [term] to use in relation to the subject matter, but we saw it as an entertainment, albeit one that’s intense and suspenseful. We wanted it to reach the widest audience possible, and that happens in summer.”