I don’t think anybody does it the old way anymore, if the ability to do so even exists at all. Might as well carp that they didn’t edit the film by physically splicing it together.
Nolan still does it the old way. Ironically, the 35mm segments of his movies had to be digitally processed anyway just so they could go through the Imax DMR blowup conversion. Since Nolan insists on color-timing his movies photochemically, this meant scanning in the 35mm interpositive and digitally blowing that up instead of working from a scan of the negative itself.
For Dunkirk, nothing was shot on a gauge of film smaller than 65mm, so the roughly 25% of the movie shot in 5-perf was blown up optically to 15/70 without going through the computer at all.