Hauntology 101 and maybe 102. Usual flaws of Nolan's work are still here and there (the over-explanation of ideas and themes), but doesn't do any serious damage to what is on display. Never feels gimmicky, but always warranted in its use of manipulation for both metaphysical grandiosity and smaller character moments. The weaponization of knowledge and data. Battlefields and surveillance that can’t be bound by standard practice, becoming infinite. Worlds where the billionaires and the people in the shadows are moving pieces on the mutable game-board that is our hypercapital reality, with technology the rest of us can't even begin to comprehend. If Dunkirk was the turning point in his career, then this ushers in a new chapter in Nolan's filmography.