When it was announced that Christopher Nolan’s follow-up to the polarizing space epic Interstellar would be a much more grounded film rooted in the history, it was a bit of a surprise.
Here was a director who has made a career (and, generally, huge box office returns) on the fantastical – imaginative works grand in vision and scope – looking to bring to life a much more straightforward premise by comparison.
But Nolan is also known for taking risks, and as it turns out, Dunkirk is no different. It’s a reinvigoration of the war genre, and its most innovative offering in decades.
There’s certain elements you can expect every time you go to see a Nolan film: a certain visual aesthetic that borders on broody without ever fully entering Kubrick territory, a pounding score, iconic imagery and emotional heft. Continue reading →