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Cineworld’s reopening brings socially distanced screenings of past hits while the studios figure out their strategies for new releases, and with the highly anticipated and imminent release of Christopher Nolan’s new sci-fi, Tenet, his previous blockbusters are once again showing. José chooses Batman Begins, hoping to understand what he didn’t get when he first saw it in 2005, and why it matters.

To Mike’s generation and demographic, Batman Begins is, if not a great film, an important one, as its muted aesthetic and attempt to render Batman and Gotham as plausible entities, capable of existing in the real world, signalled a significant difference from the outlandishness of both previous and contemporary comic book adaptations, and its tone conveyed a seriousness of purpose – how honestly or successfully is up for debate – that contributed to the idea that superhero films could begin to be taken seriously and even considered as Oscar contenders. And, although his previous three films had all been successful, Batman Begins was the first blockbuster of Nolan’s career, and the financial success and cultural impact of his work would only increase, making him a dominant figure in cinema for people like Mike.

But Nolan’s Batman trilogy has always left José feeling lost – something that might be true of Nolan’s work overall – and he’s keen to work out what he might be missing, whether it’s more than just a generational thing, or whether, indeed, it’s the children who are wrong.

We think through how Nolan reimagines Batman, and how differently Batman Begins feels now that it’s fifteen years old. Mike suggests that the benevolent billionaire figure of Thomas Wayne, Batman’s dad, is no longer believable, if indeed it ever should have been, and José turns a peeve about Nolan’s almost entirely European casting into a working theory about the Britishness of his film, and what that means for its fidelity to the themes and tone of the comic books on which it’s based.

We’ll be following this up with discussions of the two successive Dark Knight films, as well as Interstellar and Inception, in this impromptu Christopher Nolan season. It’s all thanks to finally being back at the cinema, where, as José loudly shouts in the face of everyone who think their big telly is great, all films are best seen – especially Christopher Nolan’s.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.