Tenet 4K 2020 IMAX Ultra HD 2160p

The CIA agent receives admission to a secret mission on the prevention of a new world war, while he does not receive any information on the case, except for the secret code "Argument". The hero will have to face a new inverse weapon and angry descendants who decided to destroy the future.

Tenet 4K Review
After the attack on the Kiev Opera House, a CIA agent is captured and eats a suicide pill between tortures. Having regained consciousness on board the ship, he learns that his squad is destroyed, and he himself has passed the check of his superiors and can be admitted to the main mission of the moment. However, he is not given any information, except for a secret cipher (you have to put your fingers in the lock and say the code word "Argument" to go through any door), and he is forced to figure out all the nuances of the task on his own. It turns out that a new world war is on the verge, but this time it is not associated with a modern enemy, but with inverse weapons and embittered descendants who, for some reason, decided to destroy their own ancestors.

Describing the plot of "Argument" is like retelling a well-structured detective story, where every detail speaks, and each character means something and, like owls, is not what it seems. The skill of the author in the case of his new picture, however, is so boundless that out of context, all accents are lost and cease to become so-called spoilers. But since Nolan himself chooses a model of a spy retro-action movie with a "wow-effect" calculated up to seconds, and the viewer is increasingly wrapped in information armor, through which news of the death of Han Solo or Tony Stark makes its way with great difficulty, we will support the general discourse and we will also talk about "Argument" in an undertone. But without reservations.

The same reticence, by the way, is one of the features of the picture. Of all Nolan's films, the spectacular "Argument" is perhaps most closely associated with literature. Literature of hints and scientific paradoxes, Easter eggs and Chekhov's guns. The last time the director structured the story so precisely in Remember, where, funny, two time intervals also collided: the reversible and the linear. But in "Argument" these timelines literally intersect on the same plane, finally turning the film into one big palindrome that can be viewed in reverse order.

Although literature is not Nolan's main reference point. Undoubtedly important, making up the backbone, but not in everything setting the tone. For example, genre cinema of the 20th century is already more like a leading artistic vector. Without oppressive intertext (although there are quotations, including a reference to the final of Casablanca), but with the author's awareness of genre constructs. Paradoxically unaesthetic to the middle, devoid of visual polish - which, I think, was quite a deliberate move - "Argument" picks up the model of old spy films about the Cold War. Hence the annoying Russian villains, secret ciphers, Jamesbond devices like the one with which heroes climb a skyscraper, and, more importantly, a charismatic protagonist without a given biography, letting off caustic jokes and dressing in spectacular costumes.

Criticizing Argument for these deliberate nonsense (or rather, genre details) is the same as scolding horror movies for using the same unrealistic templates of the "last girl" and stupid teenagers. Nolan, in general, does not try to work in the plane of realism, despite all the complex formulas that sound in the film. His mother is hyperbole, his dad is a glass of monstrosity, and no sci-fi flair will turn Argument into a serious movie. The director may have tried to do this back in the days of Interstellar, but now Washington's smirk and selected cinematic cranberries give the author away.

It is widely believed that Nolan is a perfectionist filmmaker who assembles his films like a designer and completely forgets about the so-called transcendental "soul". What this means in the context of his work is not entirely clear, but the public's demands for living characters and situations will certainly make Argument a victim of expectations. Firstly, the characters here are predictably genre, working strictly in the range of their types. Secondly, and more importantly, the drama is set not so much by their thoughts and words, but by the space and time itself, which towards the end reveal hidden tragic collisions and make the characters victims of situations, or rather, an inexplicable fate, fate, this time Nolan has become absolute unit and explaining all curiosities in general. Simply put, conflicts are not emotional in "Argument" - the structure of the plot is emotional. Yes, calculated, yes, verified, like a strict mathematical equation, but after all, mathematics is full of beautiful things: Fibonacci numbers, for example, or Escobar's theorem.

Another popular claim is that Nolan is making an abstruse, deliberately paradoxical, and complex movie. Here, by the way, it is not difficult to agree, but, however, with a couple of nuances. "Argument" is one of his films where the public is simply asked not to analyze what is happening and enjoy the process from the position of a non-skeptical "critic" looking for logical holes and trying to connect two storylines together, but an ordinary uninformed viewer (such a viewer is partly character of Washington itself). For all its structural ornateness, Argument, like many of Nolan's films, is primarily a formal rather than substantive experiment. Sketches of plot moves may well describe what is happening; the description of the action, or, in other words, the action - no.

If we go back to Nolan's labels, then the director is certainly an architect. This opinion is well-established, already hackneyed, but in Dovod it receives the first practical confirmation from the moment of the Beginning. Another thing is that it is not as emotional as a movie about the thief of dreams, but in terms of the spectacle it is more bewitching. Making a connection between the past and the future (literally in the plot of the confrontation between ancestors and descendants), Nolan at the same time confronts the archaic with the innovative. His film consists entirely of constructs: genre or purely visual - it doesn't matter. But the latter, given the director's love for working with space and time, closer to the finale begins to displace modest spy plots and turns cinema into the main entertainment of the year with reverse chases, explosions and fights.

Therefore, Nolan's gesture, when he puts the phrase "Do not try to understand" into the mouth of one of the heroines, seems the most generous from the position of the ubiquitous arrogant demiurge. The "argument" does not need to be understood, it should be admired; revel in every detail and every sound. Screen physics is outgrowing itself and is already changing the space of the hall: a kind of postcard from the past (or the future?), Left by a mysterious evil genius, for whom, according to the public's assurances, heroes are puppets, and cinema is the material of a man-made monument to itself. The magic of cinema is another label imposed on all sorts of unique projects, but in the case of this film, its author has one magic spell that can charm a skeptical viewer: Stop Making Sense or, as they say in a parallel timeline, esneS gnikaM potS.

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Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 1.78:1, 2.20:1
Original aspect ratio: 2.20:1

Audio
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: Dolby Digital 5.1 (640 kb/s)

Subtitles
English SDH, French, German, Italian, Spanish, Dutch, Chinese, Korean, Czech, Danish, Finnish, Hungarian, Norwegian, Polish, Portuguese, Swedish, Thai, Japanese.