But maybe that’s unfair. 1917 is based on stories Mendes’ own grandfather told him about his service during WW1, and the film is dedicated to his memory. And the script is co-written by Mendes and 31-year-old writer, Krysty Wilson-Cairns (Penny Dreadful).

Of his writing partner Mendes has said “I wanted a woman, and someone who was younger. I didn’t want to be in an echo chamber, another middle-aged man talking about war movies.” So, although this film isn’t coming close to passing Bechdel test (war films rarely ever do), it’s refreshing to know that in coming into being 1917 wasn’t as singularly male as I assumed it to be.

Before gold figurine season is over, 1917’s filmmakers will surely have to make a bit more room on their shelves. It has already won two Golden Globes (Best Drama and Best Director), picked up nine Bafta nods, and will presumably be featured heavily when the Oscar nominations are announced on Monday 13 January.

Whatever our personal feelings about the staid male paleness of recent award announcements, 1917 does deserve its acclaim. It may be fairly thin on character development, but it’s a powerful and extremely tense depiction of the brutality of war.

And, importantly, it features Fleabag’s Hot Priest. Natch.

Film reviews: is 1917 really deserving of this awards show buzz?