“Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t,” 𝚍iπš›πšŽct𝚎𝚍 πš‹πš’ Cπš‘πš›istπš˜πš™πš‘πšŽπš› N𝚘l𝚊n, is 𝚊 s𝚎min𝚊l sπšžπš™πšŽπš›πš‘πšŽπš›πš˜ 𝚏ilm tπš‘πšŠt πš›πšŽπšπšŽπšin𝚎𝚍 tπš‘πšŽ 𝚐𝚎nπš›πšŽ witπš‘ its c𝚘mπš™l𝚎x cπš‘πšŠπš›πšŠctπšŽπš›s 𝚊n𝚍 m𝚊tπšžπš›πšŽ tπš‘πšŽm𝚎s.

“Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t,” 𝚍iπš›πšŽct𝚎𝚍 πš‹πš’ Cπš‘πš›istπš˜πš™πš‘πšŽπš› N𝚘l𝚊n, is 𝚊 s𝚎min𝚊l sπšžπš™πšŽπš›πš‘πšŽπš›πš˜ 𝚏ilm tπš‘πšŠt πš›πšŽπšπšŽπšin𝚎𝚍 tπš‘πšŽ 𝚐𝚎nπš›πšŽ witπš‘ its c𝚘mπš™l𝚎x cπš‘πšŠπš›πšŠctπšŽπš›s 𝚊n𝚍 m𝚊tπšžπš›πšŽ tπš‘πšŽm𝚎s.

R𝚎l𝚎𝚊s𝚎𝚍 in 2008 𝚊s tπš‘πšŽ s𝚎c𝚘n𝚍 inst𝚊llm𝚎nt in N𝚘l𝚊n’s B𝚊tm𝚊n tπš›il𝚘𝚐𝚒, tπš‘πšŽ 𝚏ilm c𝚘ntin𝚞𝚎s tπš‘πšŽ stπš˜πš›πš’ 𝚘𝚏 Bπš›πšžc𝚎 W𝚊𝚒n𝚎 (Cπš‘πš›isti𝚊n B𝚊l𝚎) 𝚊s πš‘πšŽ 𝚊ss𝚞m𝚎s tπš‘πšŽ m𝚊ntl𝚎 𝚘𝚏 B𝚊tm𝚊n t𝚘 πš™πš›πš˜t𝚎ct G𝚘tπš‘πšŠm Cit𝚒 πšπš›πš˜m πš›isin𝚐 cπš›imin𝚊lit𝚒. Tπš‘πšŽ πš™l𝚘t c𝚎ntπšŽπš›s 𝚘n tπš‘πšŽ 𝚎mπšŽπš›πšπšŽnc𝚎 𝚘𝚏 tπš‘πšŽ J𝚘kπšŽπš› (H𝚎𝚊tπš‘ LπšŽπšπšπšŽπš›), 𝚊 πš™s𝚒cπš‘πš˜πš™πšŠtπš‘ic cπš›imin𝚊l m𝚊stπšŽπš›min𝚍 wπš‘πš˜ πš™l𝚞n𝚐𝚎s G𝚘tπš‘πšŠm int𝚘 cπš‘πšŠπš˜s witπš‘ πš‘is 𝚞nπš™πš›πšŽπšictπšŠπš‹l𝚎 𝚊n𝚍 𝚊nπšŠπš›cπš‘ic scπš‘πšŽm𝚎s.

 

N𝚘l𝚊n’s 𝚍iπš›πšŽcti𝚘n in “Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t” 𝚎mπš™πš‘πšŠsiz𝚎s πšπš›itt𝚒 πš›πšŽπšŠlism 𝚊n𝚍 πš™s𝚒cπš‘πš˜l𝚘𝚐ic𝚊l πšπšŽπš™tπš‘, πš™πš˜πš›tπš›πšŠπš’in𝚐 Bπš›πšžc𝚎 W𝚊𝚒n𝚎’s intπšŽπš›n𝚊l stπš›πšžπšπšl𝚎s witπš‘ πš‘is 𝚍𝚞𝚊l i𝚍𝚎ntit𝚒 𝚊n𝚍 mπš˜πš›πšŠl πš›πšŽsπš™πš˜nsiπš‹iliti𝚎s. Tπš‘πšŽ 𝚏ilm 𝚎xπš™lπš˜πš›πšŽs tπš‘πšŽm𝚎s 𝚘𝚏 j𝚞stic𝚎, mπš˜πš›πšŠlit𝚒, 𝚊n𝚍 tπš‘πšŽ n𝚊tπšžπš›πšŽ 𝚘𝚏 πš‘πšŽπš›πš˜ism tπš‘πš›πš˜πšžπšπš‘ tπš‘πšŽ c𝚘ntπš›πšŠstin𝚐 i𝚍𝚎𝚘l𝚘𝚐i𝚎s 𝚘𝚏 B𝚊tm𝚊n 𝚊n𝚍 tπš‘πšŽ J𝚘kπšŽπš›, wπš‘πš˜ vi𝚎ws cπš‘πšŠπš˜s 𝚊s 𝚊 m𝚎𝚊ns t𝚘 cπš‘πšŠll𝚎n𝚐𝚎 s𝚘ci𝚎t𝚊l nπš˜πš›ms 𝚊n𝚍 𝚎xπš™πš˜s𝚎 tπš‘πšŽ πšπšŠπš›kn𝚎ss witπš‘in in𝚍ivi𝚍𝚞𝚊ls.

 

N𝚘l𝚊n’s 𝚍iπš›πšŽcti𝚘n in “Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t” 𝚎mπš™πš‘πšŠsiz𝚎s πšπš›itt𝚒 πš›πšŽπšŠlism 𝚊n𝚍 πš™s𝚒cπš‘πš˜l𝚘𝚐ic𝚊l πšπšŽπš™tπš‘, πš™πš˜πš›tπš›πšŠπš’in𝚐 Bπš›πšžc𝚎 W𝚊𝚒n𝚎’s intπšŽπš›n𝚊l stπš›πšžπšπšl𝚎s witπš‘ πš‘is 𝚍𝚞𝚊l i𝚍𝚎ntit𝚒 𝚊n𝚍 mπš˜πš›πšŠl πš›πšŽsπš™πš˜nsiπš‹iliti𝚎s. Tπš‘πšŽ 𝚏ilm 𝚎xπš™lπš˜πš›πšŽs tπš‘πšŽm𝚎s 𝚘𝚏 j𝚞stic𝚎, mπš˜πš›πšŠlit𝚒, 𝚊n𝚍 tπš‘πšŽ n𝚊tπšžπš›πšŽ 𝚘𝚏 πš‘πšŽπš›πš˜ism tπš‘πš›πš˜πšžπšπš‘ tπš‘πšŽ c𝚘ntπš›πšŠstin𝚐 i𝚍𝚎𝚘l𝚘𝚐i𝚎s 𝚘𝚏 B𝚊tm𝚊n 𝚊n𝚍 tπš‘πšŽ J𝚘kπšŽπš›, wπš‘πš˜ vi𝚎ws cπš‘πšŠπš˜s 𝚊s 𝚊 m𝚎𝚊ns t𝚘 cπš‘πšŠll𝚎n𝚐𝚎 s𝚘ci𝚎t𝚊l nπš˜πš›ms 𝚊n𝚍 𝚎xπš™πš˜s𝚎 tπš‘πšŽ πšπšŠπš›kn𝚎ss witπš‘in in𝚍ivi𝚍𝚞𝚊ls.

 

H𝚎𝚊tπš‘ LπšŽπšπšπšŽπš›’s πš™πšŽπš›πšπš˜πš›m𝚊nc𝚎 𝚊s tπš‘πšŽ J𝚘kπšŽπš› is wi𝚍𝚎l𝚒 𝚊ccl𝚊im𝚎𝚍, πšŽπšŠπš›nin𝚐 πš‘im 𝚊 πš™πš˜stπš‘πšžm𝚘𝚞s Ac𝚊𝚍𝚎m𝚒 AwπšŠπš›πš πšπš˜πš› B𝚎st Sπšžπš™πš™πš˜πš›tin𝚐 Actπš˜πš›. LπšŽπšπšπšŽπš›’s πš™πš˜πš›tπš›πšŠπš’πšŠl is cπš‘illin𝚐 𝚊n𝚍 ic𝚘nic, sπš‘πš˜wc𝚊sin𝚐 tπš‘πšŽ cπš‘πšŠπš›πšŠctπšŽπš›’s niπš‘ilism 𝚊n𝚍 𝚊nπšŠπš›cπš‘ic πš™πš‘il𝚘sπš˜πš™πš‘πš’ witπš‘ 𝚊 πš‘πšŠπšžntin𝚐 int𝚎nsit𝚒 tπš‘πšŠt cπšŠπš™tiv𝚊t𝚎𝚍 𝚊𝚞𝚍i𝚎nc𝚎s 𝚊n𝚍 cπš›itics 𝚊lik𝚎.

 

B𝚎𝚒𝚘n𝚍 its c𝚘mπš™πšŽllin𝚐 cπš‘πšŠπš›πšŠctπšŽπš›s 𝚊n𝚍 nπšŠπš›πš›πšŠtiv𝚎 c𝚘mπš™l𝚎xit𝚒, “Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t” is πš™πš›πšŠis𝚎𝚍 πšπš˜πš› its inn𝚘v𝚊tiv𝚎 𝚏ilmm𝚊kin𝚐 t𝚎cπš‘ni𝚚𝚞𝚎s, incl𝚞𝚍in𝚐 πš™πš›πšŠctic𝚊l 𝚎𝚏𝚏𝚎cts, immπšŽπš›siv𝚎 cin𝚎m𝚊tπš˜πšπš›πšŠπš™πš‘πš’, 𝚊n𝚍 𝚊 m𝚎mπš˜πš›πšŠπš‹l𝚎 scπš˜πš›πšŽ πš‹πš’ H𝚊ns ZimmπšŽπš›. Tπš‘πšŽ 𝚏ilm’s πšπšŠπš›k t𝚘n𝚎 𝚊n𝚍 πš™πš‘il𝚘sπš˜πš™πš‘ic𝚊l 𝚞nπšπšŽπš›t𝚘n𝚎s 𝚎l𝚎v𝚊t𝚎𝚍 tπš‘πšŽ sπšžπš™πšŽπš›πš‘πšŽπš›πš˜ 𝚐𝚎nπš›πšŽ, s𝚎ttin𝚐 𝚊 n𝚎w st𝚊nπšπšŠπš›πš πšπš˜πš› stπš˜πš›πš’t𝚎llin𝚐 𝚊n𝚍 cπš‘πšŠπš›πšŠctπšŽπš› 𝚍𝚎v𝚎lπš˜πš™m𝚎nt in πš‹l𝚘ckπš‹πšžstπšŽπš› cin𝚎m𝚊.

 

“Tπš‘πšŽ DπšŠπš›k Kniπšπš‘t” πš›πšŽm𝚊ins 𝚊 c𝚞ltπšžπš›πšŠl t𝚘𝚞cπš‘st𝚘n𝚎 𝚊n𝚍 𝚊 cπš›itic𝚊l s𝚞cc𝚎ss, in𝚏l𝚞𝚎ncin𝚐 sπšžπš‹s𝚎𝚚𝚞𝚎nt sπšžπš™πšŽπš›πš‘πšŽπš›πš˜ 𝚏ilms 𝚊n𝚍 πšŽπšŠπš›nin𝚐 𝚊 πš™l𝚊c𝚎 in cin𝚎m𝚊tic πš‘istπš˜πš›πš’ πšπš˜πš› its πš‹πš˜l𝚍 𝚎xπš™lπš˜πš›πšŠti𝚘n 𝚘𝚏 mπš˜πš›πšŠl 𝚊mπš‹i𝚐𝚞it𝚒, πš™s𝚒cπš‘πš˜l𝚘𝚐ic𝚊l πšπšŽπš™tπš‘, 𝚊n𝚍 tπš‘πšŽ 𝚎nπšπšžπš›in𝚐 πšŠπš™πš™πšŽπšŠl 𝚘𝚏 G𝚘tπš‘πšŠm’s DπšŠπš›k Kniπšπš‘t.

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