dunkirk- we just survived

When it comes to war movies, we are used to seeing stories that are full of heroism and sacrifice, and that is dramatized, fleeing to mythology. Almost all of us, ideologically, fantasize about how heroic we will be if we find ourselves in the midst of a battlefield. But as for the real side, we can see that survival itself is a kind of courage and heroism if we can put aside the romance we learned about the dignity of war.
We're watching the soldiers who fight teeth and nail to survive. This emphasis is increasing in the air and sea. “Dunkirk” was critically acclaimed by British critics, especially due to its emphasis on British heroism and its nationalist emphasis in its final: it has been regarded as one of the best war films in recent years. Everyone agrees that the realism and perfection of the war scenes of the film.
Christopher Nolan's masterpiece, Dunkirk, which does not drop the tension for a moment from the first frame to the last frame, puts the audience in the middle of the battle as realistic as possible and brings us face to face with what we can do to survive even in the comfort of our lounger.
The only purpose of the film is to put the audience in a personal position in three different places (ground, air, and water). The first fifteen minutes of Saving Private Ryan is that put the audience in the middle of a war. Turn those fifteen minutes into a full-length film, you begin to understand how strong, tense, and ultimately astonishing Dunkirk is.
Critics of Nolan, who I think is one of today's most talented and daring Directors, often complain that his complex scenarios are full of long-term dialogue. These criticisms have always been unfair to me, because I advocate that Nolan creates films with cosmic deep ideas, such as Interstellar and Inception. Of course, when the issues are so complex, it is necessary to expect them to be filled with long explanations. On the other hand, Nolan is criticized for not getting it too complicated. Sometimes it's hard to satisfy the audience.
Nolan proves to be able to create a breathtaking and satisfying cinema experience with the least possible stories and dialogue. At first glance I know it sounds like an absurd comparison, but Dunkirk is, in a way, the drama version of Mad Max Fury Road that is the most successful action film in recent years. Both films focus entirely on the impressive kinetic action from my visual look from the first second.
Instead of focusing creation of a calm character and a story on the first screen, Nolan creates a sedentary scenario with short lines and quick visuals between breathtaking action scenes. In a few seconds of silence between the attacks by German forces against the British and French soldiers on the beach of Dunkirk are squeezing together the feeling, story and character development that could fit on ten scenes. While watching the film with so little dialogue we think it would be an impressive experience, rather than a film without the traditional story structure. But we can see how close the short scenes are to the characters when the sensuality in the final is slapped in our faces.
Nolan has created a staff that doesn't have much of an acting experience. Maybe that's why there are names like pop star Harry Stiles, and they're all capable of capturing the realization of the project. The inexperienced squad is supported by experienced actors such as Kenneth Branagh, John Nolan, Cillian Murphy and Tom Hardy. Dunkirk is one of the films to watch with Hans Zimmer's enormous music, which gradually raises its pressure, with the film's magnificent sound design and 70-millimeter cinematography filled with dialogs that are jaw-dropping.