Bill is an unemployed writer who has lately taken to following strangers at random on the street. One day, Cobb, a man Bill has been following, catches him in the act. Cobb reveals he has a transgressive daily routine of his own: he is a burgler. He invites Bill to join him.
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Even as he got launched to IMDb idolatry, Nolan has always been best as a sleight-of-hand artist. The philosophy of his films is either simple or muddled, but ask him to play with structure or aesthetics—and think only just hard enough—and he can hit close to home. This truly impressive $5,000 debut is still emblematic of his skills, a rewiring of classic noir to that late-90s trend where reality itself was in doubt.
Filmed with a crew of just himself (also responsible for the cinematography), the sound mixer, and two actors at any given point. I'm impressed with the discipline it must have taken Nolan & co. to stay committed to a project made on no budget, one day a week, for over a year. Everyone had to contend with their full-time jobs. I wish Nolan would go back to his indie, intimate thriller roots. This is a rare gem.
The story behind this essentially budgetless labor of love is an inspiration in itself. Here is living proof that multimilliondollar price tags aren't what bring people to the movies -- damn good stories do. Nolan solved technical shortcomings with clever editing, and in the process developed a rhythmic inter-cutting style he'd never abandon on bigger features. A seminal title, worthy of study for film students.
By this, Nolan has set a standard, that noone could beat. Bravo!
(I wish he kept what he once have, the detailed stories, above all, is better, than blowing up hospitals..[he's just not being him in Dark Knight, it's what I staple in my mind])