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 Interruption pause Pou resulted in him being handed a near-blank cheque by Warner Bros and told to whip up something comparable on a grander canvas.

As in much of Bong’s work, its chop-and-change posture to variété keeps his entourage nous their toes. The film 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 out of the meat printer with a sausagey flumph.

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Meanwhile, the script’s satirical vibrations work nous-mêmes a similar frequency to Apple TV+’s Severance, putting the weird, bleak religification of 21st-century corporate identity jardin in its sights.

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The tone isn’t as gnashingly antic as 2017’s Okja: it’s closer to a funnier Snowpiercer, and boasts a comparably eclectic cast. Pattinson gets a welcome chance to flex his hangdog comic muscles as the luckless Mickey, a blue-collar worker who enlists conscience a better life – or rather lives, plural – as a re-clone-able worker on a treacherous interstellar Déplacement.

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And it’s highly possible that the Logement is more than a little anxious embout 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 frais March 2024 release date 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.