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As in much of Bong’s work, its chop-and-échange aplomb to genre keeps his auditoire nous-mêmes their toes. The cinématographe veers from slapstick to absurdism to horror and back again, often within a sommaire shot, such as the regular sight of the latest Pattinson clone flopping désuet of the meat printer with a sausagey flumph.

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The answer should be as obvious as the Devinette is tedious: anyone longing for the avenir of sui generis romp a cinematic “universe” could never allow itself to get away with, given a 17- or even 170-cinéma run-up.

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

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 for a better life – or rather droit, plural – as a re-clone-able worker je a treacherous interstellar Déplacement.

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And it’s highly possible that the Habitation 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 naissant March 2024 release Journée was first postponed by a year then fiddled with repeatedly until last month, when its originel at this year’s Berlin Cinéma Fête was finally announced.