DUNKIRK

Muscat Daily - - FEATURES -

With Dunkirk, di­rec­tor Christo­pher Nolan plunges you di­rectly into an im­pas­sive war zone.

It is a sur­vival film which is dra­matic yet nat­u­ral and it elic­its an emo­tional re­sponse from its au­di­ence. Set dur­ing the Se­cond World War, this film chron­i­cles the evac­u­a­tion of Bri­tish sol­diers who were cor­nered on the beaches of Dunkirk (Dunkerque) in France, in late May to early June 1940 af­ter the Ger­mans had driven nearly four hun­dred thou­sand men of the Al­lied forces, Bri­tish and French sol­diers, to the edge.

The nar­ra­tion com­prises of three dis­tinct sto­ries in­ter­cut through­out the film giv­ing it a holis­tic ap­proach to the film. Also, the film de­vi­ates from the nor­mal war-film tech­niques which usu­ally in­stil some level of hope and com­radery and in­stead chooses to fo­cus on just the mere sur­vival of these in­di­vid­u­als. There is no deep ex­plicit con­nec­tion with the in­di­vid­ual char­ac­ters ex­cept that you wish for them not to die. This is pos­si­bly the weak­est point of the film. The film is paced and struc­tured care­fully to emit the de­sired emo­tion with a non­lin­ear plot and it lets you on a path with its care­fully lined up im­agery. The vi­su­als are ab­so­lutely spec­tac­u­lar. Cine­matog­ra­pher Hoyte Van Hoytema’s frames are bru­tal as he cap­tures the strewn bod­ies, bal­lis­tic bom­bard­ments and raw emo­tions adroitly. Also, some sym­bolic metaphors are aes­thet­i­cally mounted.The sound de­sign is clever as the tick­ing sound through­out keeps you on ten­ter­hooks and builds the sus­pense.

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