Maybe There’s a Hidden Story Behind All Of Christopher Nolan’s Films After All

Interstellar hidden story

If you’ve been keeping up with my latest ramblings, then you know that I wasn’t the biggest fan of Interstellar, despite my feverish love of Nolan’s past work. And I’ve never considered much about the underlying themes or connections between his movies. Until now.

No, this isn’t like a “shared universe” theory. No one has time for that. This is something better.

Akshay Seth | The Michigan Daily

And I realized something. The film’s final act, like its labyrinthine middle, rushed start or organ-blasting score, isn’t meant to inspire. Because this film is a farce. It is Nolan’s letter to Flora, his daughter. Stretched to the grandest scales, this movie is his most withering self-critique. Here’s why.

I think Akshay’s on to something. And after reading through his admittedly long arguments, I’m a believer.

If anyone’s capable of doing something like this across multiple movies over 16 years, it’s Christopher Nolan.

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6 thoughts

  1. I still sort of dislike interstellar, even if there was some kind of hidden meaning behind it. I almost feel like Nolan was trying to say, “I’m getting to old for this s**t.”

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  2. Interesting! I don’t know anything about Nolan, and can speak only to Interstellar, which I found mind-boggling as well as exhausting. HENCEFORTH SPOILER ALERT! The climax, as well as the denouement seem to be falling a little better into ‘place’ with some of the thoughts in the Seth piece. So: Coop is dying; it’s then that a mindmeld over 4 or 5 dimensions takes place and Murph’s finally able to figure something out. (What exactly, I’m not quite sure; maybe she figures out how humans might be able to patch things up with the planet somewhat.) But the final bit, when C awakens in a hospital bed, just in time to meet M before she dies: this scene must be happening completely in Coop’s mind, just before he dies . . . it’s a reconciliation with his daughter, for him; and with his life, I guess.

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