Writer-director Christopher Nolan has created some of the most memorable cinematic moments: the effect of the near-permanent daylight on a LA detective in Insomnia; the slippage of time between places created by a wormhole in Interstellar; the three-action-sequences-at-once in Inception; and the backwards in time unwinding of the plot of Memento. What these all have in common is a concern with time and how it functions—through the duration of a film, on the characters, and on the audience.
Though I have come to think of Nolan’s films as having great ideas, if not always satisfactory stories (the love conquers time as central to the plot of Interstellar, for example, felt like a let down), I was still eager to see Dunkirk. That the film’s running time was an hour less than Interstellar also helped.
