Oppenheimer – Nolan\u0027s 12th feature, and a soaring, senses\u002Dswamping masterpiece – feels startlingly personal, despite the consequence and scale of its subject
The seeds of Oppenheimer blew in from Tenet, the film that directly preceded it. In that 2020 science-fiction thriller, a technology capable of reversing the flow of time is compared to the A-bomb: it has the potential to burn up reality as we know it, if the sub-molecular shiftings it triggers catch fire and can’t be stopped.
He recalls talking to his family about an early draft of Oppenheimer in 2021, “and one of my sons literally said to me, ‘But Dad, nobody worries about that anymore.’ My response at the time was to think, ‘Well, you probably should,’ and that became a reason for me to make the film.” Then came Russia’s invasion of Ukraine, and the spectre of nuclear war returned. “And of course, my son’s not saying that anymore.
Like Nolan’s 11 other films, Oppenheimer was conceived for the big screen: it’s visually and sonically overwhelming, and not just during the Trinity test detonation . And it was shot on IMAX film, the vibrantly detailed analogue format which, before The Dark Knight proved it was viable for blockbusters, was mainly used for nature documentaries. Nolan’s career-long championing of the theatrical experience has won him many friends in the industry, though lately it’s caused some upset too.
One of his own formative cinema-going experiences was seeing Star Wars while visiting his grandmother in Ohio, months before its UK release in 1977. Article content
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