The iconic Christopher Nolan's filmography does not disappoint, with films like The Dark Knight, Inception, and Interstellar proving he can deliver on the innovative spectacle fans hope to see on the big screens. However, there seems to be a story aspect to his blockbusters that is missing in his last two films.
Nolan's Dunkirk and Tenet demonstrate once again that he is the master of surpassing boundaries by creating immersive worlds full of intricate ideas and practical sets that are able to grasp audiences' attention. One being a World War II epic that depicts the historic Dunkirk evacuation while the other is a mind-bending espionage thriller dealing with concepts of inversion, both films provide the exhilarating tension and action many expect from the director but lack in a different area: engaging characters. The two films, especially Dunkirk, both received positive reviews from critics, yet they quickly became divisive amongst viewers. A big criticism is that both worlds Nolan establishes are too plot-driven, clearing no room for emotionally enriched characters to root for.
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It is apparent during various interviews and after watching it again that Nolan's intended goal when working on Dunkirk was to focus on the larger events at stake rather than leaving space for character exploration that is common in not only his past work but in numerous war films as well. He attempts to reel audiences into his realistic settings containing real-life Spitfires and a pulsating score over three-dimensional, in-depth characters, which can only last so long. Nolan makes it frustrating to become emotionally invested in what is unfolding on screen due to the lack of any interpersonal relationships audiences should care about. He seems hungry to outdo himself with impressive stunts and monstrous set pieces.
That is no different in Tenet. The cerebral film seeks to capture that same enthralling experience, whether it stems from composer Ludwig Göransson’s booming bass or the engrossing hand-to-hand combat scenes that are choreographed to make it appear that the subjects are fighting in reverse. Although it succeeds in that category, the film lacks a soul or a heart. Jumping from one exposition scene and location to another, much like Dunkirk, it feels as though characters are going through the emotions in a detached way, lacking any humanity.
In order to become invested within a story and develop a greater attachment to what is happening, there needs to be a clearer focus on the characters involved and their motivations or struggles. The characters are the heart of any story, and the reason audiences follow along on a journey. On top of their many fears or hopes, characters are the ones creating conflicts and setting up the next scene that should have everyone watching glued to the screen. Great filmmakers will put all of their time into this element of storytelling because they understand without it, the story will not be impactful.
Some of his greatest work centers on character-driven stories. Characters that feel honest, human, and broken in search of something greater. For example, why Batman Begins is so groundbreaking are not always the scenes involving the caped crusader during the combat battles, but instead, the Bruce Wayne moments that show him navigating through his internal conflicts or mending relationships with the ones closest to him. It's his vulnerability that truly makes his character complete.
Nolan's depiction of this material and this character feels unlike any other comic book film that came before, ultimately changing the landscape of what superhero movies could strive to be. It is the first time fans witness the origins of Bruce Wayne in a film, allowing for a deeper connection to the character and a greater understanding of where he is coming from and why he dons the cape and cowl. This right here is why Nolan can be so appreciated. He has the potential to really understand characters and give fans someone to care for like Bruce Wayne/Batman.
Moviegoers expect an insanely complex world to become wrapped up in from a filmmaker like Nolan, but for his next project, he should do the exact opposite. Since his last two films abandon most signs of character empathy, a fitting way for Nolan to showcase his skills writing compelling characters could be through the horror genre. He can still include all the twists and turns and world-building but keep it a character study that produces an atmosphere full of tension similar to Insomnia or The Prestige. The addition of worthwhile characters will lead to a more memorable experience that will have viewers caring and begging for more.
Regardless of what his mind ends up deciding, Nolan will no doubt find a way to capture the awe and wonder that films can project. In a time where sequels, prequels, and spin-offs are inevitable, it's relieving to watch a filmmaker develop new and exciting stories that push the limits of filmmaking.
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