1. Inception

Re: Inception

Trailer ziet er gaaf uit!
  • Trailer ziet er gaaf uit!
  • Ik snap wat frankieman bedoeld.. Ik zie het alleen niet zo. Dit lijkt me nog misntens 1.5x vetter worden dan TDK :D
  • Damn. Ik moet deze fucking vette film gaan bekijken.
  • Batman films van Nolan zijn erg gaaf, maar toch vind ik zijn andere films beter. The Prestige vind ik zijn beste. Net nog de trailer van Inception gezien en het het ziet er heel erg vet uit.
    Memento is mijn favoriet van Nolan :).

    Er zijn bij de achten, negens en tienen nu ook een 3 en een 4 gekomen. Maar goed dat is bijna onvermijdelijk, heb je vrijwel bij elke film.
  • Hier en daar wat recensie verschenen

    Variety: “If movies are shared dreams, then Christopher Nolan is surely one of Hollywood’s most inventive dreamers, given the evidence of his commandingly clever “Inception.” Applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the subconscious, the writer-director has devised a heist thriller for surrealists, a Jungian’s “Rififi,” that challenges viewers to sift through multiple layers of (un)reality. As such, it’s a conceptual tour de force unlikely to rank with Batman at the B.O., though post-”Dark Knight” anticipation and Leonardo DiCaprio should still position it as one of the summer’s hottest, classiest tickets.” … “If “Inception” is a metaphysical puzzle, it’s also a metaphorical one: It’s hard not to draw connections between Cobb’s dream-weaving and Nolan’s filmmaking — an activity devoted to constructing a simulacrum of reality, intended to seduce us, mess with our heads and leave a lasting impression. Mission accomplished.”

    The Hollywood Reporter: ” A devilishly complicated, fiendishly enjoyable sci-fi voyage across a dreamscape that is thoroughly compelling.” … “”Inception” puts him not only at the top of the heap of sci-fi all-stars, but it also should put this Warner Bros. release near or at the top of the summer movies. It’s very hard to see how a film that plays so winningly to so many demographics would not be a worldwide hit.” … “Sometimes originality comes at a cost though: At the end, you may find yourself utterly exhausted.”

    AICN: “Though the narrative speeds ahead like a rapidly unfolding lucid dream, INCEPTION uses the familiar vernacular of the heist film to keep less attentive audiences engaged. Unlike other films that traipse across the boundless landscape of the unconscious mind, it’s not a take-it-or-leave-it proposition.” … “The particulars may be complex, but there’s an emotional logic that drives the story forward. There are also wildly compelling action set pieces. In this regard, INCEPTION is a miracle: a multi-layered meditation on the unruly clutter of the subconscious that works sensationally well as a classical action film. It plays brilliantly on every conceivable level.” … “What’s most exciting about INCEPTION is that it finds Nolan peaking as a visual artist; he’s using the extravagantly cinematic tropes of other genres to connect with the viewer intellectually. With INCEPTION, Nolan joins the company of Coppola, Lean and not too many others as a filmmaker who treats the big canvas with the respect it deserves - but with the steely verve of a chess player who can see dozens of moves ahead. Pure cinema at its best feels like dreaming with your eyes wide open. Cinema doesn’t get much purer than INCEPTION.”

    InContention: “In reviewing 2008’s “The Dark Knight,” I wrote that director Christopher Nolan “has made a brief career of exploring characters built upon their somber, in some instances twisted pasts, however distant or immediate.” The theme continues with “Inception,” a film like nothing you have ever seen before that plays out like a two-hour therapy session, wrapped in the accoutrement of a heist film and bathed in the panache of an entirely immersive cinematic experience.” … “Every single moment of “Inception” is more gripping than the last. It’s the kind of film Freud, or more likely Jung, would have delighted in deconstructing. Nolan takes a leap of faith with his audience, trusting them to keep up with the screenplay’s labyrinthine structure while at the same time conjuring enough cerebral hocus pocus to avert attention from its weaknesses.”

    Bron: http://www.filmtotaal.nl/artikel.php?id=18245

    Wel weinig animo voor een film van Nolan. Als dit Bats was waren we waarschijnlijk al bij pagina 115 :P
  • Ga morgen op vakantie dus kan hem pas over 2,5 week in de bios zien :(

    Damn wat ben ik benieuwd :]
  • Gisteravond gezien, holy shit wat een heerlijke film <3
  • Oh, ik wist niet dat dat het liedje was dat werd gebruikt voor de kick. Waarom is het dan qua thematiek zo geniaal?
  • Morgen erheen, spannuuuuuuund :D
  • ^^^^
    What is the significance of the song &quot;Non, Je Ne Regrette Rien?&quot;

    &quot;Non, Je Ne Regrette Rien&quot; is the signature song of the French songstress Édith Piaf (1915-1963). The song was written for Piaf in 1956 by Charles Dumont and Michel Vaucaire and recorded by Piaf in 1960. It appears in her biography film La môme (2007) (retitled La Vie en Rose for English-language release) and its title translates into English as &quot;No, I regret nothing.&quot; In Inception, &quot;Non, Je Ne Regrette Rien&quot; is used to signal the various characters that it is time to wake up and/or &quot;kick up&quot; into a higher dream level. According to the Wall Street Journal, Christopher Nolan, the writer and director of Inception, had incorporated the use of this song into the script from early on. Marion Cotillard, who plays Mal, also portrayed Piaf in La Vie en Rose (and won an Academy Award for it), but Nolan states that this connection is purely coincidence. The melody of &quot;Non, Je Ne Regrette Rien&quot; is also echoed in the score of Inception by being slowed down.


    Nolan uses in the film suggest he is drawing strongly on the metaphsyics given in 'A Course in Miracles'. This modern-day channelled text - puportedly from Jesus - has heavily influenced many current spiritual teachers, and counts Oprah Winfrey, Deepak Chopra and Louise Hay amongst its fans. It suggests that we live in a dream reality peopled by projections of our own unconscious guilt, and have buried deep within our minds the truth that we are innocent, &amp; only dreaming a dream of guilt, separation and fear. The key to escaping this mental prison, says 'A Course in Miracles', is forgiveness (just as Ariadne tells Cobb). It describes the dream as being regularly penetrated by 'an ancient melody' of forgiveness and innocence as we dimly remember 'Home'; a metaphor that Nolan apparently alludes to in Inception through the wake-up song 'Je ne regrette rien' (No Regrets).

    Dit stukje vond ik ook erg interessant

    Was the end a dream or reality?

    Although no one can prove it one way or another, unless that person is Chris Nolan, it is hard to say. Both theories can be proven without any holes.

    Explanation: The reason Cobb is in fact in reality is due to the information presented. Although Cobb does die in the fourth dream layer (his memory of limbo) and then is in turn sent to the real limbo, along with Saito. It is highly likely they both escaped. From what we learn about limbo during the movie, it is understood that it is possible to escape from limbo, all you have to do is realize you are in limbo and are still dreaming and then kill yourself to escape. We know this is true because Mal and Cobb did it to escape the limbo they built, when they layed on the train tracks and let themselves die. Therefore when Cobb met Saito in limbo and reminded Saito that the world he was in was not reality, Saito then reaches for Cobb's pistol. Now it does not show them kill themselves, but it can be inferred that they in fact committed suicide to escape limbo, which is in fact possible. Also, there are simple explanations as to why when he sees his kids again they look much like they did in his dream. For example, he never saw his kids faces so we cannot easily tell if they had aged much, from his memory. Maybe they didn't; this is highly possible since when Cobb saw memories of his father they looked no different then his father looked recently when he finds him to search for a new architect. Also, Cobb never visibly ages much. In addition, the movie never defines the amount of time that has passed since Mal had died, and Cobb was banned from the U.S. So the memory of his kids may only be a few months old, therefore it is very possible his kids look pretty much the same in the memories and in the present. To add, the spinning top at the end of the movie falters, and appears to lose some momentum, this is a sign of reality due to the fact in a dream, the top spins flawlessly, everytime. In conclusion, Cobb would have awoken up on the plane at some time, once the sedative wore off, no matter what. The only difference between him escaping limbo or not is if he hadn't escaped limbo he would have awoken to his brain &quot;turned to mush&quot; as quoted from the movie, and he would have probably not percieved his awakening on the plane as reality; but on the other side, if he had awoken from limbo, before the sedative had worn off he would be fine. The sedative is a fail safe, once it wears off, you will always wake up (messed up or not). But due to the facts presented it is more likely that Saito and Cobb escaped from limbo and ended up fine on the plane.

    Evidence to Reality: At the end of the film Cobb's children are wearing different, albeit similar clothing compared to the clothes they wear in Cobb's subconscious. Although many comment that the children have not aged at the end, it appears likely this is a mistaken view, as IMDb cast credits show that two pairs of children were cast for the two different ages (about two years apart). Also, in the opening moments you get a glimpse of Leo's hand. Specifically, he's wearing his wedding ring. Now, if you follow the rest of the movie keeping an eye out for this you will notice that he only has the ring on when he's in the dream world. At the end of the movie he isn't wearing the ring.&quot; If the ring only appears when he's in a dream and he's not wearing at the end of the film, that could be confirmation that in fact, the top does stop spinning after the credits and Cobb is at last in the real world.

    Evidence to Dream: before he wakes up in the plane older Saito seems to be reaching for his gun so it's possible he had shot Cobb and because he was too deep in a dream that he imagined a memory and this was on the plane thus the latter happened when seeing his kids. But when in his lounge the top seems to keep spinning just before the credits roll.

    &quot;Both theories are true&quot; theory: Movie has two main themes: the first one is that the line between dreams and reality can be imperceptible from the perspective of an individual; the second that an idea can be a parasite which, once incepted, can take over one's psyche. The ending simply reflects the fact that the idea that killed Mal has now taken over Cobb; he cannot discern whether he is now living in a dream or a reality, and we, the audience, witness that intimately. The gyro in the end falters, but we do not see whether it stops or not. Have we witnessed it stop, the movie would be essentially telling us &quot;fear not, this is real and a happy end&quot;. Had the shot ended with it spinning, the movie would affirm the other theory. However, the shot as-is wants to ensure us that we do not know and we cannot know, because Cobb doesn't know anymore. The lack of definite answer IS the answer; for the rest of his life Cobb will wonder whether everything around him is real, and the audience is deliberately left with that same question hanging in their heads.

    Notice that when Cobb is in his &quot;Memory bank&quot; with Ariadne, Cobb is looking out the window at his kids, he tells Ariadne that his greatest regret is not being able to alter this moment and see his children's beautiful faces again. That would imply that was Cobb's inception to himself. He finally did what he could never do before and altered the moment in which he saw his children and he sees their faces. Also, why was Miles there? He was living in France yet was waiting at the airport in the States (reason why MIles was there: When Cobb visitied Miles it was to give him a gift for his children. i.e. Miles was traveling to see Cobb's children in the near future). Even more confusing, Miles' wife, Mal's mother was taking care of Cobb's children in America yet we never see her at the house at the end. The inception itself could be altering his biggest regrets which spreads to every aspect of his life he winds up needing to alter.

    Or Mal was right the whole time and he was actually still down one dream level and Mal is alive in reality and Cobb wasn't waking up.

    The Spiritual / Metaphysical explanation: From a spiritual perspective there is a different reading again. This movie is one with a profound spiritual idea at its heart, for those interested - just as with 'The Matrix', and Guy Ritchie's 'Revolver'. In 'Inception', Nolan seems to be using the metaphysics given in 'A Course In Miracles', a seminal spiritual text from the 1970s that was purportedly channelled from Jesus and which continues to profoundly influence modern spiritual thinking. In ACIM the key idea is that what we think of as reality is in fact a dream - that there is no difference between the dreams we see at night, and what we see with our eyes open. Both are projections of our mind, which is trying to escape a core guilt by projecting guilt outside of itself onto projected 'dream figures'. (For more on this see the FAQ titled 'If the spinning top really did keep spinning at the end…'). Thus, although Cobb returned to 'reality', Nolan seems to be making the point that what we think of as 'reality' is still a dream. And, that within that dream, we see what we want to see - projection makes perception. Thus, the movie is devised so that some viewers look at the spinning top and see it as being about to fall over as the movie ends. They decide that the movie is saying that Cobb is back in 'reality' and not dreaming. Others see the top as going to continue spinning indefinitely. But, one then inevitably asks, how could Cobb be still in a dream? Which leads us to think hard, to debate, to share ideas, and perhaps eventually to question the unquestionable - that 'reality' is not what it seems to be. Nolan is cleverly sowing a key idea in our conciousness. So you could say the movie Inception is in itself… an inception! Within this interpretative framework, Nolan is reaching to us within the 'dream' that we call reality to help us to start to challenge our assumptions about 'reality' and begin to wake up - just as Cobb went into limbo to get Saito.

    Yet for an inception to work, one must accept it as one's own thought process… so of course Nolan does not give interviews where he says, 'This is a movie where I'm trying to wake people up to the fact that they're dreaming'.

    Clever stuff indeed!

    Nolan heeft gewoon Inception bij ons gedaan ^^D
  • Dat zei je al, dat is niet specifiek genoeg. Wat dat betreft had het net zo goed een liedje van Linkin Park kunnen zijn?
  • Dat is helemaal niet vetter. Het was toeval wat dat betreft en heeft niets met de thematiek van de film te maken.
  • Was dat nou een bad guy of niet?
    D'r was geen bad guy in de film :O
  • Mal en Cobb gingen toch ook meteen van Limbo naar werkelijkheid? Waarom zou dat nu niet gebeurd zijn :P?
  • Ik weet het niet. Ik ga komende week voor de 2de keer en wellicht ook 3de keer.
  • Dat is wel het einde dat ik wil geloven ja.
  • Mind blown.
  • @ Morphweasel

    Je zou The Prestige eens moeten proberen, vind ik naar mijn mening stukken beter dan Memento. :D
  • Ik overdreef uiteraard toen ik het woordje 'revolutonair' typte, maar op het internet is zoiets altijd lastig te ruiken. Volgende keer zal ik aanhalingstekens gebruiken, Karel ;)

    En ja, shorts zijn awesome. Net als longs.
  • Thnx!

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