In the history of cinema, there is no twist more groan-inducing than the “it was all a dream” trope . With, director Christopher Nolan crafts a bracing and high-octane piece of sci-fi drama wherein that conceit isn’t just a plot device, but the totality of the story. The measured and ever-steady pace and precision with which the plot and visuals unfold, and Nolan mainstay wally Pfister’s gorgeous, globe-spanning on-location cinematography, implies a near-obsessive attention to detail.
; Nolan, on the other hand, doesn’t sculpt, he deconstructs. He uses filmmaking to tear time apart so he can put it back together as he wills. A spiritual person, Tarkovsky’s films were an expression of poetic transcendence. For Nolan, a rationalist, he wants to cheat time, cheat death. His films often avoid dealing with death head-on, though they certainly depict it. What Nolan is able to convey in a more potent fashion is the weight of time and how ephemeral and weak our grasp on existence.
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