BEYOND THE SEA
In a world where war films have tried and tested every scope possible of humanity's darkest conflicts, 2017's "Dunkirk" reminds us that the simplest of storytelling can generate the grandest of cinematic experiences.
In what should be considered his masterpiece amongst an already storied filmography, Christopher Nolan's latest work immerses us in the most harrowing days of WWII; the tragedy and triumphs of the Dunkirk evacuations. Examining what is less of a military engagement and more of an mass execution, the film guides us through the desperation of British forces via land, sea and air.
This piece of film is simply a landmark in modern cinema, blending three streams of characters, stories and tempo together for what feels like a beautiful and uninterrupted stream of a scene for 100-odd minutes. There's no shining heroes, no deus ex machina to save our protagonists and certainty no holds back on the sheer futility a few man have against the tides of war. With an accomplished team in production and cinematography, Nolan weaves an incredible telling of the events at Dunkirk. This is kind of film that a career is remembered for.
It's difficult to center on just a particular actor, or group of actors, such is the way each story upon the beaches, the boats or planes seemingly lives on it's own but still all part of this "Dunkirk" ecosystem that Nolan has crafted. It's not so much how much that Nolan humanises the ordinary heroics of his ensemble, but not even granting the enemy a sense of identity, all compounding to the unrelenting suspense as evacuation efforts occur and fail in a twisted and unfair cycle.
Much of the film's realism comes from some extraordinary audio technican-ship; the sights of the Dunkirk events are immeasurably heightened by the fantastic diegetic sounds of war. Bangs, crashes, splashes, cries, moans, screams, booms are balanced with moments of nothing but of a shallow breathing, of waves against a boat and of a clock ticking for what seems the entire film. As an audience, you are never permitted a chance to relax, such is the tension weaved by expert editing, sharp storytelling and worthwhile characters merely fighting for a chance of seeing home.
Unlike his American counterparts in war cinema, there is no glorification of the battles, no one-defeating-many scenarios, merely desperation and courage against indomitable circumstances. We are not directed to hate a character, or even loathe the enemy, but just passengers hoping for some glimmer of hope to the soldiers and civilians we follow.
If you see but one film this year, ensure it's "Dunkirk".