Cillian Murphy wears an unidentified watch

Robert Fischer spends most of Inception being robbed inside his own head. In the warehouse where Cobb's team has staged his kidnapping in the first dream layer, Cillian Murphy sits in a dark suit and a burgundy tie, and the only sign of a watch is a thin line of brown leather slipping out from under his shirt cuff, the case never clearing it. On the plane, where the job begins, his sleeves cover his wrists completely. You can tell Fischer is wearing a watch, and almost nothing else about it.

That is the whole of the evidence, and it is not much. No watch publication has ever named the piece, and the brand never shows on screen, so it stays a brown-strapped unknown.

Fischer is not on the team; he is the job. Saito hires Cobb's crew not to steal a secret from him but to plant one, the idea that his dying father wanted him to walk away from the family empire and build something of his own. The whole elaborate machine of the film, the nested dreams, the snow fortress, the timed kicks, exists to bring one enormous business decision down to a single emotional beat, a son deciding that his father loved him. The lever is grief, and the image it turns on is small and domestic, a photograph of Fischer as a boy with his father and a paper pinwheel.