So Christopher Nolan’s huge, complex, anti-narrative epic Oppenheimer continued to deliver its payload of seriousness at the Baftas; it gained best picture, best director for Christopher Nolan and best actor for Cillian Murphy for his stunningly intuitive performance as the tortured J Robert Oppenheimer, the father of the A-bomb, with his sightless stare of horror – as if foreseeing humanity’s end – the man whose non-aligned leftist principles drove him to develop the bomb before the Nazis, the same principles which made him a pariah in red-scare America after the war. Nolan structured his movie in such a way as...