Christopher Nolan has always thought about time as a malleable object. In Nolan’s worlds, its linearity is merely a suggestion. The clock may move forward, but its effect is omnidirectional. As early as Memento, Nolan wondered if, perhaps, we exist as constant possibilities of ourselves. In his cinema, we are all some version of Schrödinger’s […]
Christopher Nolan has always thought about time as a malleable object. In Nolan’s worlds, its linearity is merely a suggestion. The clock may move forward, but its effect is omnidirectional. As early as Memento, Nolan wondered if, perhaps, we exist as constant possibilities of ourselves. In his cinema, we are all some version of Schrödinger’s […]
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Christopher Nolan has always thought about time as a malleable object. In Nolan’s worlds, its linearity is merely a suggestion. The clock may move forward, but its effect is omnidirectional. As early as Memento, Nolan wondered if, perhaps, we exist as constant possibilities of ourselves. In his cinema, we are all some version of Schrödinger’s […]
