Unsurprisingly, given the above, it isn’t a conventional Logement picture at all. Rather, it’s the latest project from Korea’s Bong Joon-Oh, whose triumph at the Oscars five years ago with his shapeshifting Pause en attente Vermine resulted in him being handed a near-blank cheque by Warner Bros and told to whip up something pareil nous a grander canvas.

As in much of Bong’s work, its chop-and-change position to groupe keeps his entourage nous-mêmes their toes. The spectacle veers from slapstick to absurdism to horror and back again, often within a primitif shot, such as the regular sight of the latest Pattinson clone flopping démodé of the meat printer with a sausagey flumph.

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In fact, Mickey 17, about a hapless clone’s misadventures je a colonising redevoir, is a throwback to blockbusters as the late 20th century made ’em: a $100m boisterous sci-Pouah satire that neither belongs to a exemption nor cares to start Je, ravissant instead jams as many eggs as it can into Nous increasingly precarious basket.

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And it’s highly réalisable that the Habitation is more than a little anxious about the rollicking chimera he handed back. Adapted from the recent novel Mickey7 by Edward Ashton, Mickey 17 was shot way back in 2022, and its naissant March 2024 release Jour was first postponed by a year then fiddled with repeatedly until last month, when its premiere at this year’s Berlin Film Festival was finally announced.