|Fri 6 Oct||15:15||Book||(Main Auditorium 17)|
|Fri 6 Oct||20:45||Book||(Main Auditorium 17)|
|Sat 7 Oct||20:45||Book||(Main Auditorium 17)|
|Sun 8 Oct||12:30||Book||(Main Auditorium 17)|
|Tue 10 Oct||18:15||Book||(Main Auditorium 17)|
|Wed 11 Oct||14:30||Book||(Moved from 16:00 - Main Auditorium 17)|
|Thu 12 Oct||15:45||Book||(Main Auditorium 17)|
|Thu 12 Oct||20:45||Book||(Main Auditorium 17)|
It is 1940, the Battle on Dunkirk has begun: Christopher Nolan’s much anticipated take on the key moment in WWII.
The film is told from three points of view: on the beach with the infantry (including Fionn Whitehead and Harry Styles), the evacuation by the navy (Kenneth Branagh), and helped by Cillian Murphy and Mark Rylance, showing how civilians came to the rescue and then in the air (with Tom Hardy engaging in plane combat). For the soldiers who embarked in the conflict, the events took place on different temporalities.
On land, some stayed one week stuck on the beach. On the water, the events lasted a maximum day; and if you were flying to Dunkirk, the British spitfires would carry an hour of fuel. To mingle these different versions of history, the temporal strata are mixed. Efforts were made to create suspense solely through details, as the script contained little dialogue. With long-time Nolan collaborator Hans Zimmer providing a magnificent score subtlety morphing into Elgar at the climax.