There are few directors who generate as much expectation as Christopher Nolan. The London filmmaker summarizes his career in twelve titles that, except for what was his letter of introduction (Followingnot available on any platform in Spain) and his penultimate film (Tenet), represent incontestable successes with critics and the public. Nolan has achieved what, currently, perhaps only Tarantino and Cameron can afford: that an eminently authorial cinema receives the almost unfailing support of the box office.
Academic prestige and popularity merged, under the protection of Nolan, in a tight embrace when the director accepted an offer from DC. Someone had to take care of Batman, badly injured after passing through the hands of Joel Schumacher. Neither Val Kilmer nor George Clooney had prevented the Batman from taking flight, so Nolan, who had just sedated Al Pacino in Insomnia, took the reins of the franchise. And, in doing so, changed superhero cinema forever. And the cinema, simply.
The dark knight trilogy
Its pessimistic and gloomy tone was one of Hollywood’s first sentimental reactions to 9/11. The kind vision of the world was clouded: Evil existed among us in its purest form and those who fought it were inevitably infected by its aura.
Nolan’s Batman broke with the tradition of the impeccable hero and showed the public the inside of the invincible lycra suit: in it, there was a man tormented by his power, his capacity for destruction and, above all, because he had discovered that between the savior of Gotham and his enemies there was no abyss. To some extent, this was the first DC film in which the protagonist was not Batman, but Bruce Wayne.
The Dark Knight Trilogy is made up of Batman begins (2006), The dark knight (2008) and The Dark Knight Rises (2012). The three deliveries are already part of the catalog of netlix, although they are also available in Amazon Prime Video and in HBO Max.
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