In “Oppenheimer”, like Malick’s “Tree of Life”, Nolan uses quick cuts that jump through the different time’s of the character’s life coupled to very dramatic music to give an abstract feel of the “spirit” of the life. He generally has less poetic “soul” (in Hilman’s sense of soul as concrete detail, spirit as abstract) than … Continue reading Oppenheimer: Nolan in the shadow of Malick