Christopher Nolan, the British-American director of the acclaimed film “Momento” and the more recent “Batman,” has a fearless mindset for the complicated plots and epic themes his films impart. And one of his most epic new thrillers and surprising new stories is his 2010, “Inception.” For more than a decade, Nolan had contemplated the idea of ​​a dream world film in which action scenes could be manipulated and doubled continuously. And that time spent sitting on the idea led Nolan to dig much deeper into the idea which, although first, dives into the realm of dreams within dreams and multi-layered action within each dream level as they delve deeper the subconscious. In Christopher Nolan’s “Inception,” the main character Cobb observes: “The mind creates and perceives our world. It does it so well that we don't realize we're doing it. To tell the story of a man washed up on the shores of his subconscious, Nolan captivates audiences by pushing them along his non-traditional narratives full of complex themes and intricate plots. He blurs the lines between reality and dreams through parallel editing, scenography and architecture. As a result, the public wholeheartedly believes the repeated notion that “down is the only way forward.” As an audience, we become involved in the plot not through knowledge of the characters' backgrounds and traits. Instead, we learn information at the same time through the mechanics of plot and editing. We are forced to work to understand how the plot works. As we watch the film unfold, the editing accompanies us instead of watching it from a distance. the audience and characters sweat together as surprises arise in the well-thought-out plan and way the film... middle of paper... but instead this time through production design and editing, Nolan uses the tornado to represent a heightened sense of panic and dismay as Cabb tells Mal, "I miss you more than I can bear, but we spent time together and I need to let you go." In both situations, Nolan questions the achievements of Fisher, Cobb and Mal and asks a question through the collaboration of the production design editing. Cobb will forever be lost in limbo and will remain connected to his projection of Mal or make it, and Fisher will forever be a shell of a person who never believed his father loved him, who has no self-worth. At both points the question boils down to whether they will be lost forever or found again. Nolan's retelling of each catharsis sample issue twice through the editing and different set designs you see the characters' true problems and how they got so trapped.