What Do 'Oppenheimer's Changing Aspect Ratios Mean?

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What Do 'Oppenheimer's Changing Aspect Ratios Mean?
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Christopher Nolan’s manipulation of the size of the screen gives ‘Oppenheimer’ a majestic quality.

For many, Oppenheimer is the movie event of the year. The new film by Christopher Nolan is a continuation of the director's admiration of IMAX cinematography. His commitment to shooting film on these heavy, expensive cameras has come to define his artistic style and as one of the true advocates of cinema. Nolan has practically made 70mm IMAX screenings, his preferred format of experiencing Oppenheimer, a household name.

Since his no-budget debut, Following, and his ascent to blockbuster filmmaking with The Dark Knight trilogy and Inception, Nolan has reveled in manipulating the medium of film and its conventional story structures. The director never saw a narrative that couldn't be chopped up as a non-linear tale. His liberal use of coherent sound mixing, most infamously demonstrated in Tenet, is frustrating on a basic level, but as an artistic flex, it is commendable.

The tall, IMAX-friendly format, 1:43:1, is deployed to enforce the narrative device of following the Manhattan Project, the dropping of the atomic bombs on Hiroshima and Nagasaki, U.S. affairs with domestic communism, and the dawn of the Cold War through Oppenheimer's perspective. The screen expands its parameters as if it's mimicking the opening of the physicist's mind.

While Oppenheimer is a grand, epic vision with a heavy budget, and Nolan has engaged in spectacle-driven entertainment, the film exploits the advantages of IMAX uniquely. Rather than solely capturing picturesque vistas, Nolan sought to illustrate the emotional complexity of the story through the faces of his actors. The screen often widens when Cillian Murphy's face is needed to portray the pathos of the character and narrative.

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