The depth, subtlety and wit of Pattinson and Debicki’s performances only becomes fully apparent once you know where Tenet is going, or perhaps that should be where it’s been. Still confused? Don’t be. Or rather do be, and savour it. This is a film that will cause many to throw up their hands in bamboozlement – and many more, I hope, to clasp theirs in awe and delight.

Tenet is a practically perfect (re)introduction to the big screen. Whether audiences are ready – where safe – to return to cinemas en masse is another question entirely. Certainly, Tenet’s a more challenging film than some may be comfortable with after a five-month absence, but this is an all-too-rare example of a master filmmaker putting everything on the table with, you sense, not a modicum of his vision compromised. The stakes have never been higher, but Tenet is exactly the film cinemas need right now.

Once again seizing control of the medium, Nolan attempts to alter the fabric of reality, or at least blow the roof off the multiplexes. Big, bold, baffling and bonkers.

Tenet is no holy grail, but for all its stern, solemn posing, it’s dizzy, expensive, bang-up entertainment of both the old and new school.

No other artform could quite present such a collision of time, place, idea and emotion, and it’s clear that Nolan’s pure intent is to give us the utmost of what this medium can uniquely provide. At its best this is a ride that manages to be viscerally thrilling while still being emotionally and intellectually engaging, all in ways that are truly, uniquely cinematic. In other words, say what you will about the tenets of Tenet, at least it has an ethos.