John Wayne and Maureen O’Hara in a scene from The Quiet Man (1952) | Republic Pictures
Irish people lay claim to and celebrate The Quiet Man—there’s a whole museum in the village where it was filmed—but just as often, we cringe away from it, anxiously imagining that this is how Americans see us. But the truth is, The Quiet Man is a much bigger deal to us than it could ever be to them.
Tenet is the ultimate expression of Christopher Nolan’s decades-spanning project of capturing subjectivity on screen, conjuring a twilight world where the nature of reality, God, time, right and wrong, and free will, are left in the trenches of ambiguity.
This is the first of many subversions in Sexy Beast (2000), Jonathan Glazer’s debut. This is the place where another heist film would end: the comfortable paradise—the idyllic retreat to a luxurious retirement—staked upon the ill-gotten gains earned from a life of theft.
While Bonnie and Clyde appropriates the contours and beats of its historical figures’ actual lives, the film uses techniques of elision and abstraction to create a starkly erotic Pop portrait of doomed lovers—and the infinite, tender tension that holds them together.