Tenet There comes a moment (or two, or three) in the last Christopher Nolan film in which the viewer decides that this is it, that he does not need to finish understanding what the hell he is seeing, what the hell is going on. ‘Tenet’ is a mammoth modern science fiction epic that is enjoyed letting go without trying to connect the dots during its energetic journey.
As he did in the funny and remembered ‘Origin’, the filmmaker sets off alone, without the help of his brother, on a convoluted spy adventure through different layers. If in the film starring Leonardo DiCaprio we were in the realm of dreams, space-time will be the central axis on which the metaphysical top of ‘Tenet’ turns, another conjuring trick of a director who loves to divert attention to avoid the trick being seen ahead of time. As always, he does it like the one who kills flies with cannon shots. And nothing happens. He does it better than anyone.
The first minutes of ‘Tenet’ are impressive. And I don’t mean the prologue. The whole part in which the protagonist is soaked in the information offered by the character of Clémence Poésy is exciting. The remnants of a war that we have not lived through and that lurks somewhere is top-notch science fiction material.
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