After reading the comments of many people on TENET and Nolan himself, it is rude to think that most of them are narrow-minded and stupid. The narrow one is: if Nolan doesn't ***, it proves that he/the movie ***, which is an obvious false proposition. The stupid thing is: Nolan (and Ang Lee, who was scolded because of the Gemini Killer, and PTA, who I like very much), are all writers and directors in the final analysis, and the core of their works is consistent with that of indie film. , is "I use my way to tell the story I want to tell", the indie auteurs are "poor mountains and rivers, long shots, saucy mothers, dead fathers and bear children", and Nolan laid the "story he wants to tell" as early as the beginning of his debut novel. And "the way of telling stories", so whether it is Dunkirk or TDK, these so-called big productions are just carriers for Nolan to tell stories "in his own way". There is nothing new under the sun, the prototypes, motifs, inheritance, new changes and hybrids of narrative works are all for modern audiences who have heard stories for thousands of years and have watched movies and TV works for hundreds of years (assuming they are watching). no longer fresh. How to break through the narrative barriers at this formal level? martins and indie Auteurs have their own way, and Nolan's way is to use technology, interdisciplinary beyond film aesthetics, and new narrative means to tell "old" stories that have been told countless times. I think this is the reason why the masters of modern cinema are such a big deal, just like German Expressionism, the French New Wave, and some kind of breakthrough in the narrative of the time by European art cinema, the essence is the same, the direction and form of the director's own efforts are different That's it. Therefore, from this perspective, if there is no human narrative work, let’s talk a little more narrowly: if there is no macro understanding of film narrative (which, it is already a very narrowly defined narrative, after all: games, literature, music) , painting, dance... there are wonderful and great narrative styles), and it comes when he opens his mouth: Nolan is so bad, the transition is too hard (the new wave is still jumping and cutting, you go to scold Godard), the character's emotional foreshadowing is not enough , The logic is not consistent, and so-and-so does not make sense. Seeing such an evaluation, I really want to say: You can do it. The story of TENET is actually very simple and very outdated, so why spend so much money and so many skills to tell such an outdated story (similarly: Ang Lee's latest two scolded films)? Because this is a breakthrough! This breakthrough is understandable, good-looking, and fun. Tell a story in a different way, can't you? Film has developed for more than a century, and it needs pioneers to set off some kind of breakthrough. Many modern film masters since the 21st century have been doing this. I admire them and I learn from them. If you don't believe me, check out Brian De Palma's 13-year-old Excerpt Revised, about post 9/11, one of the most boring narrative topics in the world, and he said it, and it's still funny.
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