An exceptional film with measures, it’s ending, however, remains the 1 thing which made the largest impression.
They’d input their subjects’ fantasies to extract info or plant the seeds of a fresh idea in their thoughts. To attain this, they’d frequently travel between multiple levels of fantasies, risking being left in limbo forever.
To maintain themselves calibrated between the actual world and the fantasies, each would take a totem. Cobb’s totem was a spinning top that, when summoned, could finally come to rest in the actual world but maintain turning endlessly in the fantasy world. In the close of the movie, once the heist was shown to be a victory and Cobb is eventually reunited with his children, he spins at the best one final time. However, before we can see whether the best rests or keeps spinning, the display fades to black.
Fans have, for years, wanted to understand if Cobb did eventually meet his loved ones or was he trapped in the limbo. Desperate ones tried to find clues at the fact that the children’s outfits do not change from the start of the movie to the conclusion, meaning Cobb is only imagining his loved ones. But there isn’t any end to speculation regarding the ending unless we hear it clarified by the horse’s mouth –Christopher Nolan.
I said, ‘When can it be the fantasy and when can it be fact?’
“He said, ‘Well, once you’re at the scene it is reality.’ So, do this — if I am in it, it is reality. If I am not inside, it is a fantasy,” he added. Since Caine did attribute in the finished scene including Cobb and his children, this means that the scene was fact rather than a fantasy.
But should you want Nolan’s explanation of those scenes, then things get a little more obscure.
“In the excellent tradition of those addresses, normally someone states something along the lines chase your dreams,’ but I do not wish to inform you because I do not feel that. I would like you to pursue your reality.
“I believe that over time, we began to see reality as the poor cousin to our fantasies, in a way… I would like to create the situation for you that our fantasies, our virtual reality, these abstractions we like and surround ourselves – that they are subsets of fact “
“The method by which in which the conclusion of the film functioned, Leonardo DiCaprio’s character Cobb — he was away with his children, he had been in his abstract reality. He did not care anymore, and this makes an announcement: maybe, all degrees of fact are legitimate. The camera goes across the spinning top before it seems to be wobbling, it had been cut into black.
“I skip from the rear of the theatre until people grab me, and there is a very, very powerful reaction from the crowd: usually a small groan. The purpose is, objectively, it matters to the viewers in complete terms: although when I am watching, it is fiction, a type of virtual reality. However, the question of if that is a dream or if it is true is that the question I have been asked many about all of those movies I’ve produced. It matters to individuals because that is the point about fact. Truth things.”
The crux? If you recall, even Cobb himself does not cease to check whether the shirt keeps spinning or maybe not. In that instant, he no longer cares if his entire world is actual or not. Why should it matter if he’s finally with his children? Perhaps our thoughts of what’s true and what’s fake shouldn’t be quite as authoritative after all.