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A Backward Movie for an Upside-Down World
Revisiting Tenet in the wake of Oppenheimer shows us how Christopher Nolan has long been fixated on humanity’s capacity for self-destruction.
We entered the desolate multiplex, walked past surreal rows of prefilled popcorn containers and gleaming soda machines, and made our way to the cavernous auditorium, where we sat in opposite corners of the room as Nolan’s bizarre action extravaganza unfurled. As an action flick, Tenet is a true original, a sci-fi thriller built around a conceit so elaborate that it occasionally achieves Zen koan levels of paradoxical placidity: Two men fight, one moves backward in time, also they’re the same man. Interstellar(2014) may be the bleakest Hollywood sci-fi adventure ever made, consumed with the devastation of the Earth and the profound tragedy of not being able to see one’s children grow up; its ostensibly triumphant finale is bathed in melancholy and death.
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