But, wait, when Cobb sees his kids for the first time in multiple years, they appear not to have aged from his memories.
And that top keeps spinning long after he walks away from it. Also strange. With these two final curiosities to ponder and a whole-ass movie's worth of doubt about Cobb's reliability as a narrator coming before it, the only thing left to ponder is if the world Cobb is seeing, his home, is real. Cobb spends the movie processing, unpacking, revisiting, and trying to figure out how to break free of his traumas. Cobb seeing his children's faces at home is not the result of release from legal pursuit, but rather the result of him allowing himself to see them after letting go of Mal.
It is very possible, in this new dream and I do believe the ending is based in a dream, not reality Cobb is going to have to process his absence from his children and work through the guilt of his actions rippling into their lives. Dreams feel real. To varying degrees, they operate by the laws of nature which govern our world while also possessing something of a surreal quality.
Dreams are a time for us to process our world, our thoughts, our feelings, the day we just witnessed, and so one. Dreams are a sacred space which we cannot hope to hold onto after we wake.
We can spend precious time unpacking the meaning of dreams, pondering the messages they hold for us. Those messages and answers, whatever they seem to be, come from within us. We process our own minds and our world. Inception is, simply put, Cobb's dream. Inception is now available to watch on Netflix. Get even more Christopher Nolan-related updates here.
Image via Warner Bros. Or, you could say that it's a glaring plot hole. Truthfully, it's questionable. Limbo - Limbo is actually unconstructed dream space - a place of raw and random subconscious impulse. Ariadne drops a line early on about the fact that the extractor team can bring elements of their own subconscious into the dream levels if they're not careful, and since Cobb has spent time in Limbo and has a raging subconscious, the Limbo space they enter includes his memory of the city he and Mal built for themselves.
If you're more of a visual person, Cinema Blend has put together a handy graphic detailing the different levels featured in Inception :.
The Mark - The mark Cillain Murphy is the person who the extractor and his team are trying to con. The extractor uses those details and various mental prompts to steer the mark through the dream world maze, towards the mental secrets the extractor wants to steal. As stated, the mark thinks he is still awake, perceives the dream world as real and reinforces that notion by "projecting" his conscious view of the world onto the dream - this is why projection people populate the dream cities, etc.
Because of the extractor's manipulations, the mark goes along with the faux reality of dream, ultimately reaching the point where they either realize it's a dream, or open their mind and reveal their secrets. Projections - Dreams feel real to us when we're dreaming and part of the reason for that is our mind's ability to construct a faux real-world setting for us to interact within dreams. Often, that dream is something like a city or any populated area which has other people walking around it.
In Inception , those people that the unknowing mark populates the dream world with are known as "projections. As is explained in the film, projections are not part of the mark's mind - they are manifestations of the mark's vision of reality. If a mark has been trained to defend themselves against extractors, they have a part of their subconscious which is always on guard against mind-crime in the form of militarized security which attack mind invaders.
In Cobb's case, Mal "the shade" is a projection based on his need to remember his dead wife. Mal wanted Cobb back in limbo - his own subconscious trying to pull him back to a place where he could "be with her. The Forger - As in "forgery," Eames Tom Hardy is a master of imitating people's handwriting, mannerisms - and in the dream world, even their very appearance.
Using Browning's image, Eames subtly suggests things to Fischer that fools Fischer into creating his own subconscious version of Browning seen in dream level 2, the hotel. The version of Browning Fischer conjures in his subconscious motivates him to run deeper into Cobb's maze dream level 3, the snow fortress in order to find "the cheese" - i.
Basically, the Forger fools Fischer into using his own subconscious projections against himself. Mal and her shadow - Mal is the character who acts as a vessel for all the more complex notions and questions about reality the film raises. Mal not only thought but felt that the world she and Cobb had built in limbo was real - it fed her emotionally and made her happy.
When Cobb planted the idea that "Your world is not real" in her mind, he only meant for it to wake her from limbo. Instead, what he actually did by allowing that idea to take root in her mind was to destroy that sense of fulfillment and connection she once had - and once it was destroyed, it couldn't be repaired. Even with her husband and children all back together, Mal couldn't access that emotional reality that comes with the bond of love and connection to our love ones.
Because of inception, Mal couldn't value love or connection the same way because a fake reality only offered fake connections and emotions - only she and Cobb and their love was real to her anymore. She needed to keep trying to reach some higher state where the nagging doubt would be cured and she could be happy again. While that earlier magician-minded movie acts as an obvious full-length metaphor about cinema and storytelling being a kind of magic trick, Inception is similarly a parable for the role of filmmakers in sharing their dreams with an audience that wants to get lost in a subset of reality.
Together they create a world that exists only in scenes and shots, largely empty warehouses and soundstages occupied by a bit of artifice, or a lone street corner in Paris redressed for a specific and fleeting purpose.
But when these elements are combined by a gifted group of storytellers, they create a subset of reality. And audiences, like the susceptible Fischer, populate the gaps and holes in the fantasy with their own imagination.
Hopefully, in the rare instance, the fantasy can even be so emotionally powerful that it shapes the subconscious of the person who experiences it, potentially implanting an idea that could change the very essence of who we are.
And if the dream is rich enough, and the subset believable enough to pass as reality, then our minds will do the rest—like obsessing over the falter of a spinning top 10 years after a film cut to black. David Crow DCrowsNest. David Crow is the movies editor at Den of Geek. He has long been proud of his geek credentials. I want you to chase your reality. I want to make the case to you that our dreams, our virtual realities, these abstractions that we enjoy and surround ourselves with - they are subsets of reality.
The camera moves over the spinning top just before it appears to be wobbling, it was cut to black. Also read: Actor Vijay worried for stranded son in Canada amid lockdown: Report. Reality matters.
The crux? He rushes to hug his kids, leaving the totem behind. In that moment, he no longer cares if his world is real or not.
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