Although liquid securities markets play no role in the plot, this is nonetheless a movie where the value of information is repeatedly very high.
You can think of the movie as constructing a world so that a high value for information is ruling all of the time. And how strange such a world would have to look.
Most plots are about effort, character, moral fortitude, luck, or preexisting conditions (“are they really meant for each other?”). It is about time we had a film about information, even though the final world that is built is stranger than you might have expected.
“We must go now.”
But in fact, in the real world, you hardly ever need to “go now.” You can go just a little bit later, and it won’t matter much.
But this is not the speed premium, rather the game-theoretic concept is that of last mover advantage, the opposite of Schelling’s first mover advantage. Few of us are intuitively ready to take that concept literally and to order our understanding of a movie around it.
If you have studied Steven Bram’s book Biblical Games (and his other writings), this film will flow naturally for you — otherwise not!
Unlike most slacker films, this movie takes a decided stance on Newcomb’s Paradox, though to reveal that would be a total spoiler.
The movie also has genuine innovations in its chase and fight scenes, a rarity and indeed near-impossibility these days.
The soundtrack is excellent, and might at least some of the music be palindromic?
As for inspirations, you might consider Raiders of the Lost Ark, most other Nolan movies, the Book of Exodus, the Sator Square, James Bond, Frank Tipler and Pierre Teilhard de Chardin, and most of all Buster Keaton’s Sherlock, Jr.
To be clear, I don’t love most of Nolan’s films, and Inception bored me, so I wasn’t expecting much from Tenet. I walked away happy.
Should I now be rooting for a sequel? Or would that be a prequel?
Kudos to Alex for renting out the theater, he is the real Protagonist is this one.