Kinda crazy it’s his biggest budget and he made his most experimental and wild film yet

The editing here is the most impressive of Nolans career. Those final 30 minutes literally feels like a progression of the artform which is something I don’t think I’ve ever felt anyone even get close to doing since the days of Tarkovsky or Ford.

There’s obviously a number of flaws here in regards to the plot holes (mostly in how the Protagonist goes from these death scenarios, passes out, and then wakes up all safe with his team) to some bad dialogue and to the lack of real emotional power even though I think the Neil aspects will probably hit harder on a rewatch. Branagh was shaky at times but I would say his villain was still quite interesting overall.

Nolan’s editing formula has been the same since The Prestige

The Tallinn car chase scene is breathtaking. The adrenaline rush Pattinson and the stunt crew must have felt during that scene....

By far his most amibtious and experimental film. First impressions 8/10 wish the dialogue was a bit more clear in the mixing. Action scenes played like a greateast hits of his previous movies. The score was bonkers too Ludwig Gorranson MVP of the movie. Definitely need to see it again.

Couldn’t hear s*** thought it was just me

I gotta watch this again, it;s all I think and I really walk backwards sometimes.

okay so about the whole “Neill is Max” theory,

at one point towards the end when the soldiers are getting ready to go through the turnstile, Kat asks Protagonist where Neill is, and P kind of pauses for a moment, and says that he must have already gone through.

felt like this was kind of a hint that there’s something more to the Kat/Neill relationship, because at one point we see him over her recovering body with some emotion, and then to not say goodbye to her before they leave?

maybe someone can explain this better than i can, just felt like an oddly placed scene if it didn’t mean anything, unless it was used to show that they had no relationship.

i’m probably missing something that went over my head

That’s a wildly reductive way to look at it considering he has never successfully visualized a paradox through just editing until now

He started off with the prestige and TDK lending to Mann / Malick type tendencies of cross cutting before showcasing how he is taking it one step further with Inception and now this film which feels like the most experimental by far of his editing

someone tell me how to feel about this i truly don’t know

please expand on progression of the art form

big yup. the start of it is mental

also, Pattinson far and away had the best role and performance in this movie. not even close.

Well Nolan is definitely a student of the Malick/Mann/Tarkovsky types with his use of montage sequencing and cross cutting but he takes it to a whole new level in Tenet

In Inception and Dunkirk, you kind of see this technique used, although not in as fleshed out a way, where he is editing multiple perspectives in the same sequence to communicate to us a sense of the timeline and how they are converging

But in Tenets last sequence, Nolan shows us the perspectives of those who experience time inverted and who go forward in two different sequences (the yacht scene and the bomb scene) that essentially end up being four different sequences. However by his form of editing these sequences to show the progression of a sequence that essentially holds no cause and effect or linearity, Nolan literally achieves the visualization of a paradox because we see no true cause and effect therefore actions just being.

RAINY NIGHT IN TALLINN HOLY S***

My only thing with the theory is then this would mean that in the future the protagonist is the one who meets Neil (since he is 20 years older than that kid) and founds Tenet but doesn’t that mean Neil would have become a child by that point too since time inversion means you have to spend equal amount of time going backward as it goes forward?

the one thing i still dont understand:

why did they go back to the freeport? just to save the woman? and in the freeport why was the inversed protagonist trying to kill the present one?

i think Protagonist would have to meet Max in the future, convince him to inverse himself until the two meet for the first time in Mumbai, which would be a long time spent living inverse.

tbh the more i write the more confused i get so idk anymore

“ Don’t try to understand it; Feel it “

I think they went back to the Freeport to use an inversion machine so that Kat wouldn’t die from that inverted bullet

They went back to a time where Kats wound would be healed already and I don’t think the protagonist was trying to kill himself you’ll notice on a rewatch that he was actually aiming at the glass maybe sending warning shots / or setting the bullet holes in place for a future protagonist to know it’s himself

I think Nolan is too caught up in what looks good and what seems good rather than focusing on the genuine mechanics of the story

Pattinson being the grown up version of the kid would’ve been lit

Just finished this and yeah it was a mess one of Nolan’s worst, interesting plot and concept but did nothing for me to care about any of the characters

Score and action was amazing but saw some of the twists from a mile away oooo she was so jealous of girl being free but she WAS girl oooo dam who saw that coming