Dunkirk (2017)

Great directors make great movies. And with Dunkirk, Christopher Nolan has made his second masterpiece, thrilling history retold, remembered and relished.

This is a powerful, superbly crafted film with a story to tell, avoiding war porn in favour of something desolate and apocalyptic, a beachscape of shame, littered with soldiers zombified with defeat, a grimly male world with hardly any women on screen. It is Nolan’s best film so far.

Christopher Nolan’s astonishing new film...is a work of heart-hammering intensity and grandeur that demands to be seen on the best and biggest screen within reach. But its spectacle doesn’t stop at the recreations of Second World War combat. Like all great war films, it’s every bit as transfixing up close.

Dunkirk is a staggering feat of filmmaking, as Nolan's fans are accustomed. Van Hoytema's cinematography conveys death trap closeness even with IMAX cameras on a vast beach. Hans Zimmer again proves himself a masterfully dramatic composer, turning violins into the sound of spiraling aircraft. The performances are solid as such Nolan's vision requires, including pop star Harry Styles briefly.

Few movies have so palpably conveyed the sheer isolation of fear, and the extent to which history is often made by people who are just trying to survive it — few movies have so vividly illustrated that one man can only do as much for his country as a country can do for one of its men.

This is visceral, big-budget filmmaking that can be called Art. It’s also, hands down, the best motion picture of the year so far.

Haunting, thrilling and emotional, Dunkirk is a prestige pic with guts and glory that demands multiple views. Especially in IMAX.

There have been countless films this summer that have engaged in endless spectacle but Dunkirk is the rare blockbuster that will leave a bruise.

A spare, propulsive, ever-intensifying combat thriller, Nolan's history lesson is both a rousing celebration of solidarity and the tensest beach-set film since Jaws.

Dunkirk is an impressionist masterpiece. These are not the first words you expect to see applied to a giant-budgeted summer entertainment made by one of the industry's most dependably commercial big-name directors. But this is a war film like few others, one that may employ a large and expensive canvas but that conveys the whole through isolated, brilliantly realized, often private moments more than via sheer spectacle, although that is here too.

一开场看到这么多卷毛蓝眼英俊小哥哥心想大事不妙，又要来那套把美丽的东西毁灭给人看了我不要啊呜呜呜。结果诺兰这个死颜控，根本没舍得杀俩就全部送回家了，好吧算你干得漂亮。

最动人的一幕，无疑是老将军眼含热泪，注视着一批批赶来搭救的渔船，人性的光辉，最终打败战争的残酷。却不敢想，现如今，一点蝇头小利都要争的你死我活的年代，如果发生同样的事，会不会有这么多人舍身忘死去救人？到那时，大约才可证明，我们到底是不是一个高贵的民族。

看得喘不上来气儿。另：里面的男孩子都真好看啊。

有一种很厉害的滤镜叫做诺兰滤镜，怎么可以把这些男孩子拍的都那么好看？！摄影机简直和Fionn谈了一场恋爱吧！空军组帅到人神共愤，落日余晖中的老湿美到喷泪！

无聊是真无聊，主旋律是真主旋律；但是这个牛逼至极的结构足够诺兰及其粉丝吹上十年的，也够电影学院学上十年的。仍然是在时间切分上面做文章，但是竟然还能玩出新花样真是不得不服。就凭诺兰对时间的理解足以牢牢霸住一个当代大师的位置。

三条故事线，不同时间长度，却有意平行剪辑，造成假象。这一回没太多叙事花样，也没什么视觉奇观。主要还是还原恐怖气氛，营造当时的绝望与紧张感。这里有英雄也有被吓破胆的普通小兵，小兵代入感更强。音乐对影片情绪有强烈的推动，也让结尾更加释然。结尾滑翔真的很美。算诺兰一次新的挑战。

其他导演还在玩长镜头的时候，诺兰和季默已经在捣鼓长配乐了。 来温哥华的九年里在电影院看的第500部电影，怎么可以选错。

用最贵的演员，露最少的脸。——《诺兰哈迪传》

不懂干嘛都说当悬疑片？根本就是一部很写实的战争片。那些讲拍出盗梦空间感觉的朋友，我合理怀疑你两部电影都没看过。

我不管，反正诺兰是我心目中的最佳导演，《敦刻尔克》是我心目中的2017年度最佳影片。

多线叙事的优缺点在这里都很明显：成功撤退是史实，故事的悬念就不能用结局来制造了，三条线如何交汇才是重点；而在几个故事中来回切换次数多了，吸引力到后来远不如开头，只能通过回到诺兰最喜欢和擅长的——传统的家庭观念、孤胆英雄的奇迹等等来激发情感，所以战争背景比较模糊，当是冒险求生片吧

Meh

的确是尊重了史实，这也导致主线只是了无新意的流水账，拯救观感全靠一手诺兰式“伪震撼”：用夸张极端的音效+BGM+运镜堵塞观众的大脑，只留下眼睛和耳朵，强行把20分的剧力在感官上虚高到90分。同时本片在表达上又极度匮乏，对人与战争的思考几乎完全没有，可以说是外强中干到了极致。

与其说这是部电影倒不如说是个需要亲身体验的装置艺术。当70mm胶片放映机投满IMAX屏幕糊你一脸，当汉斯季默的配乐震得全场座椅都在抖的时候，你就知道语言文字有多苍白了。一定要去你所在地最大的IMAX屏幕看，一定。

喜欢这个抛弃了繁复叙事、投身极简主义的诺兰。没有背景没有铺垫，第一个镜头就将观众拖入战场。一周、一天、一小时，三条故事线反复绞杀心灵，不用血腥暴力也能呈现战争带来的压迫感。IMAX+70mm=最佳观影方式，轰得想喊救命...（推开眼花缭乱的小鲜肉为汤老湿打call!!）

四十万人去哪了？

在北美看了，很震撼人心。这部电影看来只有诺澜能够导出来，就像多年前看大兵瑞恩的感觉，多次激动到眼泪溢出。诺兰，是下一个斯皮尔伯格！

一个《敦刻尔克》，生生拍出了《盗梦空间》的即视感。把尽人皆知结果的一个历史事件拍的全程悬念迭出，让观众屏住呼吸看完全场，恐怕也只有诺兰了。。。

之前还担心电影只有107分钟会不会太短，因为诺兰之前的电影时间都很长可以把故事讲的细致入微，不过这一次他把握的很足，在该有的时间点插入什么样的故事，麻雀虽小但五脏俱全，时间虽短但该有的故事都讲的很全面了，并且不会再有多余时间去讲述别的事物，而且整体节奏还很快，一部成功的实验影片。

我预测，这将是2018年第90届奥斯卡最佳影片、最佳摄影、最佳导演的片子。诺兰大神功课做得足啊，学习了《党同伐异》《日出》《大幻影》《死囚越狱》《扒手》《恐惧的代价》，所以拍出了《敦刻尔克》。因为视听语言把握得好，所以故事讲得好。hope与home，愿每个生命都能得到拯救。审视当下，珍惜和平。