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 Cat, both our youngest self at the exact same time we are our own future ideal. Past, present and future are all occurring simultaneously. Yet, while we can exist at all times, we cannot change what’s done. Nolan’s films are almost always about the masculine
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