Inception: on Canale 20 the film with Leonardo DiCaprio

Qhis evening, at 21.05 on Canale 20, it will be broadcast Inceptionfilm by Christopher Nolan of 2010 and who sees protagonist Leonardo DiCaprio in the role of a “dream thief” grappling with a complicated mission to complete. And with the presence of his wife Marion Cotillard to torment him in waking and sleeping.

Inception: the plot of the film with Leonardo DiCaprio

In the not-so-distant future, Japanese tycoon Saito hires Dominic ‘Dom’ Cobb (Leonardo Dicaprio) and partner Arthur (Joseph Gordon-Levitt) to graft into rival Fisher (Cillian Murphy) the idea of ​​disintegrating his economic empire.

The two partners are experts in the “extraction” technique, i.e. in theinfiltrate the vulnerable mind of the sleeperliterally stealing dreams, but in this case they will have to practice an “inception”, ie the implantation of an idea. In exchange for cooperation, Saito offers Dom the chance to return to America, where he has fled since accused of murdering his wife Mal (Marion Cotillard).

To the two extractors are added the forger Eames (Tom Hardy) and the student of architecture Ariadne (Ellen Page); to be able to make the graft, everyone will have to immerse themselves in the dream of a member of the team. Charged from time to time to control the dream projection of him. To stay grounded in reality, Dom always carries a small top called a totem in his pocket, but the greatest danger for him will be the memory of his deceased wife.

A complex and dreamlike thriller

Since the beginning, Christopher Nolan has accustomed us to a cinema where there is no clear boundary between genres and in which the viewer can literally get lost in a story. Finding himself in a world that is not real, but shows its characteristics in all respects. Inception it is no exception, indeed it is perhaps the most successful example of how the American director is able to create cinematic universes never explored before. With all due respect to the viewer, “forced” to extricate himself from very complicated plots and not always easy to read.

Here, one of the possible parameters to overcome the complexity of the narrative is the think of a “shared dream” of all the protagonists since the director of Interstellar immediately puts emphasis on lack of conscious transition between the real and the illusory world. Nolan loves to play with cinematic times and here he enjoys dropping us in a series of linked dreams, each with its own temporal rhythm, in a Chinese box game that requires a certain amount of attention from the viewer.

Conceptually complex and superbly staged thanks to a few targeted special effects – despite the “poverty” at the time of the CGI – the film is unforgettable even for some scenes. Like the train that runs through the trackless streets of Los Angeles, Paris that literally folds in on itself or the scene of fight in zero gravity. The director thus succeeds in balance the many genres that inhabit itor: from melodrama to thriller, passing through the spy-science fiction story and a painful love story. All mixed to give us a film perhaps a little cold and too well built to really warm the heart, but capable of making us wonder in the face of all that cinema is still able to produce.

And it leaves us with an open question. What is a dream and what is not?

Waiting Oppenheimer in theaters August 23

Released in the US to coincide with Barbieto the point of unleashing a social mania called “Barbenheimer”, Nolan’s latest effort is currently his biggest commercial and critical success. With playing time exceeding three hours, the film is set in the 1940s and focuses on the historical figure of the American scientist J. Robert Oppenheimer, played by Cillian Murphy, considered one of the fathers of the atomic bomb.

The film tells the development of the deadly bomb during the years of the Second World War. When the United States and its entourage of scientists started the Manhattan Project which led to the construction of the famous bombs, later dropped on Hiroshima and Nagasaki.

Shot in IMAX 70mm, Oppenheimer is the director’s first biopic. Refractory to the use of computer graphics, Nolan also limits special effects to the maximum in this film. But despite telling a biography, he manages to keep it spectator glued to his seat with three parallel and pressing narrative lines. Nolan said he wanted to go back to the origins of his cinema by choosing an essentially “unspectacular” subject. Which is as compelling and engaging as the previous films.

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