Spoiler Space: Spoiler Space: Dunkirk
Thoughts on, and a place to discuss, the plot points we can’t reveal in our review.
Here is an interesting fact: Dunkirk is the first Christopher Nolan movie in which the fragmented, loopy storytelling doesn’t have some kind of subjective explanation, like a fading memory (Memento) or a mind-warping sci-fi technology (Inception). Oddly, that means it’s used to exclusively subjective effect: to squeeze or stretch a sequence of events to show how different perspectives on one crisis create impressions of urgency and time. The other interesting thing is that the three-piece narrative’s only real twist—namely, the fact that the mute infantryman in the Spielbergian “The Mole” section is actually a French soldier who yoinked a British uniform off a corpse—is unrelated to the structure, and is played totally straight.
Speaking of distended time: the languorous ending stretch might be the closest that Dunkirk has …