Nolan’s Dunkirk is a Masterclass of visual and non-linear storytelling
Christopher Nolan’s Dunkirk is a masterclass of visual and non-linear storytelling. Throughout the years Nolan gradually worked with higher budgets and Dunkirk reflects this as well. The film effectively turns the cinema into a realistic war zone and makes it a sensory experience with its overwhelming audio visuals.
Christopher Nolan once again works with film score composer Hans Zimmer, which gives him the possibility to do what he does best: intensify the tension through sound. As explained in Vox’s video, Zimmer uses The Shepard’s Tone: 3 layers of sound ascending at the same time by the second, in order to manipulate the audience’s emotions.
Nolan uses a similar, almost Triptych method in his storytelling; Dunkirk begins with the first chapter, Mole, which follows the soldiers’ struggle for life in a period of one week. Second chapter, Sea, has the audience waiting for the holy grail moment as a small boat tears its way through the English Channel to get to the soldiers in one day. Third chapter, Air, follows Tom Hardy as a spitfire pilot battling with Nazi fighter planes called Luftwaffe for an hour.
The film definitely conveys emotions through the medium of cinema, rather than the dialogue or character. Dunkirk’s minimal approach to dialogue is perhaps a conscious choice to depict young soldiers trapped in Dunkirk even more vulnerable than they already are, because they have no say in what is happening to them.
Cillian Murphy and, unexpectedly, Harry Styles give the most dramatic performances in the film, that said, every gesture and dialogue in Dunkirk is subtle. Rightly so, as Nolan captures the atmosphere of war through indication of survival instinct, hope and nationalism. Unlike what is expected from a war drama (bloodshed, manly tears, heroism and brotherhood), Christopher Nolan’s Dunkirk is a thrilling game of time and expectation.
