Christopher Nolan’s Dunkirk is an extraordinary film. It is an exercise in pure cinema, “visual poetry”, as the writer-director puts it, a movie in which the characters, and even in some ways the plot, are secondary to the cinematic experience itself. And what a cinematic experience it is – a complete immersion in three interlocking narratives with their own time frames within the wider narrative of the successful evacuation of British troops from Dunkirk early in World W…
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