The 2018 Oscar ceremony is nearly upon us, bringing to a close the annual tradition known in cinephile circles as “The Grouchy Season”!
It’s an assumption, an article of faith, but it always bears repeating: every best-of list is a subjective snapshot, bound by what we could or would see, the genres to which we gravitate, the last-minute audibles called because we simply can’t bear to leave out a title.
Christopher Nolan is known, celebrated, and critiqued for two things: rigid attention to the clockwork nature of his spectacles, and a particular coldness to character. In Dunkirk, he splits the difference.
From Memento on, Nolan’s films seem much more enamored of mindfuck narrative structures than the people who populate them.