Walk With Feet Turned Out

Memento

(it. Memento)

color and b / w, USA, 2000 , Christopher Nolan

Duration: 113 min.

Genre: psychological thriller

Cast: Guy Pearce (Leonard), Carrie-Ann Moss (Natalie), Joe Pantoliano (Teddy Gammel), Mark Boone Junior (Burth), Russ Fega (Waiter), Joria Fox

(Leonard's Wife), Stephen Tobolowsky (Sammy Jankins), Harriet Sansom Harris (Mrs. Jankis), Thomas Lennon (Doctor), Callum Keith Rennie (Dodd) Kimberly Campbell (Blonde), Marianne Muellerleile (Tattooist), Larry Holden (Jimmy)

Screenplay: Jonathan Nolan (based on his short story "Memento Mori "), Christopher Nolan

Music: David Julyan

Photography : Wally Pfister

Editor: Dody Dorn

Distribution: Warner Bros

We all need to remember

there a way to live and a time to suit certain works of art that transcend the common sense of perception, comprehension, penetration of reality that surrounds us. It 'good to be in these particular circumstances when you are engaging in works such as Memento, more than a simple sequence of frames on the screen, a state of mind.

All Memento whole structure is designed and managed to create, from the first scene to the last, is unsettling, deeply chaotic in its perfect order non-linear, full of truth hidden between the lines, ready to be picked by those who wants to take, but especially those in able to do so.

supreme example of how the assembly is not only functional film work, but rather its fundamental resource to create a visual narrative, to build an invisible path as palpable among the sights and sounds, Nolan's film, the second most of time comes to restore a dogma beloved by directors just ordinary, what has now become a kind of label to show off to prove to be alternative. The non-linear narrative of Memento makes it a unique gem in the movies of all time, almost an object of study, research, because the effort that offers the viewer is a powerful neural milking, which causes the maximum voltage drop of the notice attention, even those within the space of existence as a nanosecond. Each part of the work, every frame, every word is weighed, examined with suspicion, then rearranged and placed in its proper order to build immense puzzle disconnected we are called to solve, while the narrative takes us by hand in this Fantastic journey through the maze of memory and its deceptions, its wonders, its abyss.

The story is the first part of this originality in this compound prematurely.

Leonard, the hero is a man who has a problem: His anterograde memory was damaged in its functioning, so can not maintain dei ricordi a breve termine, per più di qundici minuti. Dopo quel lasso di tempo, i suoi ricordi e la sua realtà ritorna ad un punto ben preciso della sua memoria passata, resettando ogni cosa, facendo tabula rasa. Così non ricorda più dove ha dormito la sera precedente, nè tantomeno cosa ha mangiato appena quindici minuti prima, chi ha conosciuto la mattina precedente... e se si dilunga in una conversazione per più di quei fatali quindi minuti, non solo non ricorderà più l'oggetto della tale discussione, ma non si ricorderà più neppure di conoscere il suo interlocutore.

Leonard era un agente assicurativo incaricato di individuare le frodi dei clienti della sua compagnia. Una notte, mentre dormiva al fianco his wife is brutally assaulted, murdered his partner, he hit on the head in a violent manner. The trauma of the loss of his wife and received physical damage due to the blow to the head, Leonard reduce to a broken man, broken, missing a normal life, a lifetime of normal, ordinary. The inability to remember anything for more than fifteen minutes cuts it off from the world, as one might expect. Lost everything, Leonard decides he must give meaning to his life, and to do so must find and kill the killer of his wife.

is not a simple story of revenge, no, but a dizzying vortex in a mind broken by fragments of reality that spread everywhere without mnemonic a lawful order, with nothing that seems to unite them. It 's the life of Leonard, our time as we identify ourselves in him through the state of the art of editing and management director, who put us in place, the confusion in not knowing, unconsciousness of our precarious existence.

So Leonard decides to take revenge. His particular physical condition, however, forces him to take steps to ensure that his project will go through. Through the tragic story of Sammy Jankins, whom he met during one of his duties before the attack, we know that if you have this type of disorder, the record on notebooks and notebooks, miscellaneous sheets you have to do is especially harmful. The leaves are lost, spreading, mnemonic media surrogates are inefficient.

why Leonard is an innovative and superior. Through tattoos, he impresses on his skin, his body, every clue found useful to identify the culprit of the murder of his wife, turning himself in its grounds, in the middle and the implementation of its vengeance. The milestones in his permanent written indelibly in the body, like the memories they had to do with his brain cells, to fix the memory. So he still has a failing memory to be able to simulate.

His body becomes a living map mnemonic, a labyrinthine path to follow, a rebus button intentions.

method, is what distinguishes Leonard Jankins by Sammy.

Photographs, Polaroid snapshots, are another means of control that Leonard used to prevent chaos and disorder of his life is confusing on its way. Faces, objects, places, are all cataloged and immortalized by Polaroid in the captions, to define the world around them - a world that is formed, but that hides its true intentions, because they constantly forget. So, using those titles, Leonard announced his future I forget everything, if that face is photographed a friendly face or an enemy if he is in that place già stato e cosa rappresenta, qual'è la sua auto, dov'è il luogo dove risiede attualmente.
E' la fotografia, che da sempre è servita all'uomo per immortalare un istante, renderlo perenne nel tempo, per prolungarne la memoria, qui funge da protesi mnemonica vera e propria, nell'estensione di questa sua funziona presso la nostra normale percezione dei ricordi. Le foto e i tatuaggi, creano una sinergia inestricabile, inscindibile, che sostituisce la memoria di Leonard con dei surrogati, non altrettanto efficaci ma funzionali, rudimentali e ingegnosi sistemi di sopravvivenza al fato avverso.

Leonard ha dei nemici, gente che lo usa per i propri scopi approfittando del suo disturbo; per questo è necessario che He maintains the register of those negative events and people that are causing them, which would lead astray, away from his true goal. His world is a mess and then of suspicion, paranoia, hallucinatory doubt excruciating dilemmas. Can not trust anyone and everyone could be a disturbing element, a profiteer, a potential hostile. Leonard can only trust himself, the evidence that the self of the fifteen minutes before he left to himself now.

Its actually based on a continuous implementation by itself, in a rare example of the principle of personal self-determination.

Leonard's character is embodied by fisiscamente Guy Pearce excited to take parte al progetto di Memento, e immagine ideale dell'uomo che vuole rappresentare. Impeccabile nel mostrarsi sperduto ma risoluto, Pearce firma la sua migliore interpretazione di sempre, regalando al grande schermo un personaggio indimenticabile.

La struttura del film è il vero punto di forza di tutta l'opera, basata sulla storia, partorita da essa. Il montaggio del film è a dir poco geniale quanto contorto.

Il film è suddiviso in due linee narrative parallele ma con moto opposto, che si susseguono costantemente durante tutta la durata dell'opera. La prima linea narrativa, composta da spezzoni di cinque minuti l'uno, è a colori, ed è montata all'inverso. Then, it follows that the first block of five minutes of this narrative line, is the last scene, while the last block is the first stage of history. During this line develops real narrative, the life cycle of history, the survey and the mad rush to vengeance by Leonard. These clips

color than five minutes, are interspersed with other clips, black and white, assembled chronologically. Here Leonard talking on the phone with a mysterious interlocutor, he remembers that not even the identity, being more than fifteen minutes on the phone with him. In this cycle we see a narrative story about Sammy Leonard Jankins, the genesis of his method in the way sometimes Leonard alone are tattooed body.

All this is introduced by a brief scene, which introduces the opening credits, we witness the development of a Polaroid taken soon. Following is Leonard who shoots someone in the head. This short sequence is turned backwards, and serves as an introduction not only to the film, but the entire system that utilizes narrative. The viewer is therefore cordially advised by Nolan, his work will be neither compassionate nor even ordinary people who do not like to think deeply about what he sees and hears.

The dramatic musical introduction to this scene, David Julyan, along with other tracks during the film impresses with deep sadness that is inherent in dramma di Leonard, quello di essere un uomo senza memoria, senza passato, senza identità, senza futuro nè speranza. La musica della colonna sonora originale è fondamentale in questo film, come lo sono anche i silenzi.

Dopo l'introduzione ecco uno degli spezzoni cronologicamente lineari, in bianco e nero, con Lenny che si risveglia in una stanza d'albergo. Ancora la musica, sempre uguali per la linea narrativa in bianco e nero, che inquieta, perchè è sottilmente infida, scandisce metronomicamente un tempo inesistente per Leonard, che afferma questa sua incertezza così:

"Allora.. dove sei? Sei in una stanza d'albergo... ti sei svegliato e sei in una stanza d'albergo. Ecco la chiave. Per te è come se fosse la prima volta che sei qui, ma invece potresti essere qui da una settimana, o da tre mesi... è difficile dirlo. No, non lo so. E' solo una stanza qualunque."

E' un brano inquientante, all'interno del quale si possono rintracciare ombre del lavoro che Akira Yamaoka ha compiuto per Silent Hill, il videogame della Konami del 1999.

L'intera colonna sonora originale è costellata da brani melliflui, a volte molto lenti, che scorrono come un banco di nebbia mentale. Spesso alla fine dei brani vi sono dei dialoghi tratti dalle sequenze in bianco e nero del film, dove Leonard riflette o parla al telefono, a sottolineare quanto la musica nel film sia complementare alla narrazione.

Christopher Nolan Memento touch with the peak of his directing career. Legend has it that he remembered discussing the idea of \u200b\u200bthe film in a car ride the thing with his brother, Jonathan, who wrote the short story from which the film is based, "Memento Mori". In an interview, the director admitted he was terribly attracted to the idea of \u200b\u200bthe unreliable narrator, the investigator was unable to fix something that was caused by him. As in other films in this genre, as in "Angel Heart", we are faced with uncertainty, doubt among the doubts, the self-evident fact that perhaps our point of view might be totally distorted. What is safe, what reality, and where it starts the error, the mistake?

Some existential questions such as these have the power to panic even the most strong and determined men, and here it is used for art.

The brilliant assembly also places the viewer to identify himself completely into the story. In the narrative line in color, one mounted backwards, the first scene is always the last color of the scene later, a useful device to recreate the sense of loss of meaning, namely non-linear sequence in which Leonard captures the information or simply live the moment. E 'effective and terribly effective, so that anyone who has seen Memento even for ten minutes, will experience a sense of confusion, uncertainty and loss totals. Who does not get up quickly from his chair, will be swallowed into the vortex of Leonard's disease, and will try to solve life as he would with her, trying to put together the pieces of the mosaic that has gone mad before. The two narrative continuum

different color mounted upside down in black and white and mounted on a regular basis, feed into a single sequence at the end, merging all the different fragmented reality in one large application, the final question of the most atrocious.

Nolan signed a cinematic revolution that is pure surprise, total interest, that leaves no one who is able to capture, to hold out for the first few minutes. And 'returning to the cinema that can convey the magic of the improbable, the suspension of disbelief, the desire to let go. E 'endless work, of infinite potential, which defines the cinema.

The Journey of Leonard is not an experience for everyone, indeed. Though there is a special edition of the DVD version installed chronologically, the true backbone of Memento is its destructive force and dissociative against conventional perceptions of the world of reality.

Leonard is the final thought, but ours is the doubt, the torment, because we like him we need to know about us, memories that tell us constantly from place to come from, what is our source, what we did, and why. The actions differ, and perhaps identify a man ... in the present time we are interested. But if we had not even the memory of this, how could we give value to those actions and putting them in some context that we identify with certainty?

And so we sail in doubt.

"We all need to remember that tell us who we are. And I'm no different."

Links:

Note: the links section for Memento is well-fed this time. I would especially point out the existence of an official website which is perhaps the best I have ever seen ever. Done in flash, the film offers a view from a different point, analyzing evidence about the murder of the wife of Leonard in the film are not seen, putting together the pieces here and there, interacting with a metatext view of its own. Visit the site, with background in the original soundtrack of the film, is a unique complement to the film itself.

Otnemem - the official site

Memento Wikipedia

Memento su Imdb

Christopher Nolan su Wikipedia

David Julyan - il sito ufficiale

La DVD special edition da tre dischi, mai giunta in Italia

Album su web:

Memento

White Dots On Dogs Nose

Batman - The Dark Knight

(it. Batman - The Dark Knight)

color, USA / Hong Kong, 2008 , Christopher Nolan

Length: 152 min .

Genre: fantastic

Cast: Christian Bale (Bruce Wayne / Batman), Heath Ledger (The Joker) , Gary Oldman (Lieutenant James "Jim" Gordon), Aaron Eckhart (Harvey Dent / Two-Face), Maggie Gyllenhall (Rachel Dawes), Michael Caine (Alfred Pennyworth), Morgan Freeman (Lucius Fox), Eric Roberts (Maroni)

Screenplay: Jonathan Nolan, Christopher Nolan

Music: Hans Zimmer, James Newton Howard

Photography: Wally Pfister

Editor: Lee Smith

Distribution: Warner Bros

I have not read many reviews of the last Christopher Nolan - why "The Dark Knight" is a film by Christopher Nolan, Batman on that one - just to be as impartial as possible, given my emotional about every work of Nolan. Entries are still coming, but I will try to disregard it. Already
immediately dall'incipit is understood that the hand behind the director is one of the last men
able to dream again on the big screen, to recreate a healthy taste of waiting after the enervating trailer, before the lights to come down into the total darkness of the room. You do not hear music triumph, nor that almost necessary aesthetic hedonism that permeates every film work devoted to represent the world media on a different superhero. No. .. This film begins quietly, almost softly, so as to create doubts about the goodness of man at the controls behind the wall from which the sound is projected.
a robbery. And how better starts a new chapter that will see Gotham overrun by a new wave of crime, feelings of hate, that by dark forces of darkness have only the twisted vision of the world ... no superpowers, this time, nothing out of ordinary things ... no, just the raw, violent, powerful force of human drives, pushed to the limit, beyond the limit. And the classic
robbery, crime, the starting point of any crime movie, it reveals the nature of this: yes, a detective, but atypical, precarious balance that relates between justice and crime, between right and wrong, or better, morally right and morally wrong, between those who are conscious of crossing the limit beyond which it is not easy to come back and who does it without realizing it. The robbery
surprising, for the way it is done, for the logical grounds for the chaotic freddeza plan behind it. And especially for those who are robbed.
And it soon becomes clear that behind the clown mask is not nothing but a clown, because we are the mask he wears, and this is the concept that underlies every kind of representation of the concept of superhero comics, which of course it also translates to the screen.
E 'here shows that in particular the core of film, through the knowledge of good and evil and the ability to recognize and distinguish or be confused by them: it is the Joker,
the twisted soul of this ballet of balance, which is unbalanced, which is chaotic and distorts every thing. It 's the total subversion that Christopher and Jonathan Nolan have worked long and intermibabile list of "bad" to cinema - a revolution that extends to other types of narrative, I daresay.
The Joker, whose human nature is rooted in the traditions and ancient mythology, is the trickster , being devoid of reason, the deceiver, what is the most feared man in every age, or betrayal, they can not fidare, l'impossibilità della logica, il non potersi fidare, dormire sonni tranquilli. E' l'ombra di Loki, della mitologia nordica, di Iktomi - il demone degli inganni - di quella Sioux, Anansi della cultura africana, un essere fatto d'ebbrezza, come Dioniso, incontrollabile, fuori da ogni moralità, e superiore per questo agli uomini che ne sono schiavi. E' un archetipo jungiano tra i più curiosi, è un essere da studiare, per capire le nostre paure.
Così è il Joker dei fratelli Nolan, folle, di una follia pura, che a volte vien voglia di cogliere, per liberarsi dai vincoli, per essere veramente liberi, come disse una volta qualcuno. E' questo il Joker, la sua vera anima, la sua vera essenza, la non-ragione, il non-essere. Ricorrente in lui è la storiella di come si è fatto le cicatrici che lo sfigurano in volto, dandogli quel tocco di "Uomo che ride" di Hugo, quel Gwynplaine dal quale giustamente è stato partorito per partenogenesi: è toccante la prima volta, rivelatrice la seconda, quando si capisce che sono entrambe false. Il Joker così non spiega la natura delle sue psicosi, non rivela nulla della sua mente, non ci mostra i suoi traumi infantili, a noi psicologi ormai improvvisati grazie a serie televisive e film che ce lo permettono. Il Joker, semplicemente, esiste al di là di ogni nostra capacità di comprensione, non ha identità - si cuce i vestiti da solo, le sue impronte digitali non portano a nulla, come il ladro di gems of wisdom story of Alfred - is not anything or anyone beyond his mask. There's nothing under that mask, he is his mask.
The Joker simply exists, and we find ourselves puzzled, because it is evil incarnate and deception, without explanation, no reason that could justify the actions, with no easy diagnosis. And then, chiediamocelo, why would anyone give us an explanation for the simple fact that it exists?
His concept of chaos goes beyond the ordinary madness of Nicholson, with his rhyme in the Burton film "Have you ever danced with the devil in the pale moonlight?". Here, Heath Ledger, who delivers to the legend his face and his name, with this monolithic interpretation, he founded a new concept of madness ... madness madness of being glossy.
Joker makes no sense, and he also understands when Batman confronts him with violence ... and his words hit him "all your strength is not needed here" ... because the power of the Joker in his head is fragmented, unpredictable in his ego, without reason, but can have only the minimum they need to go back to being free to be unreasonable.
And so, the trickster returns to its former glory by the mists of mythology and human culture, even to displace, to make the viewer uncertain, to terrorize with his endless nonsense.

All played on the balance, "The Dark Knight" also talks about the nuances of the border. Harvey Dent, spectacularly played by Aaron Eckhart, is the protagonist of many scenes in the eternal dance between crime and legality. It clears out the classrooms, clean up the streets, criticizes the methods of cleaning, even if it is ready to use them when the dirt goes beyond the confines of its enclosure. Dent is here at 90% as Dent, and not as showy and disastrous in Schumacher's film, which is always the opposite - the classic mistake of those who does not understand the depth of evil is treated as the philosophy of the visionaries behind Gotham, or to prevail on the person's character. For Dent, in total opposition to the Joker, you need an introduction, to understand the nature, the reasons to enjoy all the slow and agonizing fall in the uncomfortable role of Two-Face.
Harvey Two-Face, as he was called in the police station in the days when he militated in the specification. And so it becomes a two-headed monster, a Janus, a serving Justice of its own, an administrator with the same force that fought. Two-Face is the darkest shadow that is thrown when the bright light of Harvey Dent is confronted by the tragic reality of the world has chosen to live. Dent is a fundamental presence here, the second of the two sides of the film, and the whole construction of his rivals that of the Joker character, immense presence that threatens to obscure it. The detail of the coin, key, viene qui rivelato ironicamente come uno stratagemma che Dent usa per controllare il caso, o meglio, il caos, che invece il Joker vuole sguinzagliare. Ed è ironico ancora una volta che, a metamorfosi avvenuta, Due Facce adesso ha rimesso ordine nel caos, diversificando le due facce della moneta, sicchè è di nuovo possibile che essa possa decidere imparzialmente, senza che vincoli morali possano legarle le mani, come innaturalmente ha cercato di fare Dent, opponendosi al flusso naturale delle cose.
E' un messaggio forte anche questo. Dent cade perchè troppo grande e illuminato per essere seguito da meri mortali, quali sono i poliziotti corrotti sotto il comando dell'ignaro Gordon, che fuy avvisato da un monito dello stesso Dent riguardo their morality. Weak links in a chain of all human, to be redeemed by the choices made by people at the end of the film, by which time the Joker seemed to reveal a pattern of mass insanity ready to shoot at any sign of weakness of the social structure of the unjust nature of the world that is hostile to human destiny.

Batman and Bruce Wayne are just two characters aside here, contrary to what they were in the first chapter of the new series, used to make us understand his reasons. Here he is the only force opposing the tide of events that sweep the viewer, in a string of surprises and exciting scenes. Batman is called upon to make the ultimate sacrifice in the end, not is to lose one's life, but rather to lose their identity, not so much by himself - as is now aware of what is and what he must do - but with others. He decides to take the dark path of those who struggle and is not paid, those who fight without being recognized, who does not do good for himself but because it must be done quietly, systematically, without thinking twice.
He transcends borders and is afraid of when it is brought on to the pitch of the Joker, who manipulates constantly throughout the film until the end, when the deception is revealed. But only half, of course, as the duality of the film needed.

We assist in the preparation of the third chapter, where Ledger is now no longer present - an idea that grew Nolan certainly make it an embodiment of the thorn in the side of Batman, as it should be: "We two are destined to fight forever" says the final scene, because he does not make sense in existing without a Batman to fight it and then give way to being what it is. The explosion of
Tumbler bears the marks of the birth of a more canonical future batmobile, Rachel's death is certainly a necessary prerequisite to a new female presence near Wayne, possibly Celina Catwoman. Gordon And, finally, he deserves his white hair by the Commissioner, the representative the largest category of its gal.
The excessive duration of the film is by no means excessive. It seems a dead end after the second time, when everything slows down almost to a stop ... but it is not necessary that the relaxation before the rope is pulled again with more force. A complex and layered film, with dozens of keys, bound by a remarkable detective story, which inevitably makes the most complex and mature film of its kind, indeed, even allows him to transcend the boundaries of its kind. So, as un'emblema of its nature, the entire history of crossing boundaries, marking the complete fidelity to the main message she wants to lead us.

Nolan signature work epoch-making, which moves at a pace personally marked, free of excess, perhaps too much for the target to which these features are usually directed and certainly beyond anything ever done in this regard. The tension is constant throughout the film and there are very few moments of relaxation, the apparent haven of peace, useful only to generate a strong contrast. The concern is continuous, oppressive, because the threat of madness, the unexpected, makes it unstable. You are no longer sure of anything, and often right in this, because it is chaos here that we wanted to represent. For this reason, all the cliches are forgotten, in the film in amounts so small as to be irrelevant, can completely transform American art to create a story on the big screen, and then bring up this incomprehensible to most confusing.
should be given away to the legend of cinema was dying a memorable scene, almost all with the Joker as a protagonist. His is the scene when, dressed as a nurse, stumbles out of the hospital, while it implodes and collapses on itself, and is upset because he does not want the last charge of exploding, even his memorable speeches in Dent hospital, the nature of chaos leveling, and Batman at the 'interrogation. " Unforgettable its system to clear the pencils. Some very good

scenes with Gordon are to be reported, such as the arrest of the mafia in the restaurant.
But this is a film in layers, like onion a bitter cry, to be studied, viewed and revised, full of inspired touches of class lighting. It should be enjoyed in its stock yellowish (but sometimes blue), which conveys to noir as the first chapter, too obvious to be enjoyed in the characterization. Go asssaporata every scene, every shot, because of note ... and each bar between the characters, who can also poke fun at himself - words dancing on an approach of dialogue truly remarkable. Strongly on this point of view, the presence of two heavyweights like Morgan Freeman and Michael Caine, who can to break the tension but also to provide the right point of view of someone who has seen many things and knows what are the tricks of life.

Hans Zimmer and James Newton Howard, together are like Mohammed Ali and Foreman - hit hard and do well. The soundtrack is full of atmosphere, a veil of gloom descended on the whole affair, and departs from the usual superhero triumphant tune. E 'rather than a continuous live on the tension of the extraordinary, as is the case throughout the film.

Excellent incremental disturbing distortion of the instruments, during the scenes where the Joker is going to do something that we do not like, increasing the emotional tension to the breaking point. Perfect rhythm of storytelling musicale, che non mostra nessuna sbavatura, accompagnando le scene come un preciso meccanismo ad orologeria.

La scelta dei doppiatori italiani, a lungo criticata, è sicuramente opinabile ma non per questo sbagliata. Claudio Santamaria dà grande prova di sè, soprattutto nelle scene in cui opera come Batman. Le altre voci da segnalare sono sicuramente quelle di Aaron Eckart, di Gary Odlman, ma soprattutto la troppo criticata voce del Joker di Heath Ledger. Si tratta di quella di Adriano Giannini che, come ha giustamente fatto notare, fa del doppiaggio del Joker un affare di famiglia. Sito ufficiale del film e dell'edizione in dvd e bluray suo padre nei panni di Nicholson nei panni del Joker di una generazione fa, ora lui riprende il testimone, identity in this game successful. Her voice captures all the nuances of being a prey to emotional disturbances, which can not maintain a personality for more than ten seconds in a row. Impressive verve, considerable spectrum of emotions covered, URL furious scary, speaking softly and sweetly, the inevitable hysterical laughter. Giannini is perhaps not one hundred percent with the image of the young Joker, but that image makes it great and brings it back to him.

Awaiting the inevitable third installment, the remaining doubts about who will play the Joker, who will take up the scepter of inconvenient heir of Ledger ... in addition to the moral dilemmas raised by the film.
The choice remains emblematic of the sentence which would close this ideal stopover while tormented and twisted chapter or that doubt about what can happen "if the good survive long enough to become the villain."

Links :

official website of the film and the edition on DVD and Bluray:

The Dark Knight Official Website

Genius cryptic site that looks and functions very similar to the one already created for Memento. To visit:

Why So Serious?

Site metanarrative, which takes the shape of a web site dedicated to the campaign of Harvey Dent:

I believe in Harvey Dent

Album on web

Batman - The Dark Knight