Spiced up with some wry wit, cool music moments (Foals, Fontaines DC), a memorable cameo from Mathieu Amalric, and a touching-sexy use of Anaïs Nin erotica, this one’s a real keeper.

Nino’s muted anguish over the weekend following his diagnosis is largely internalised, relying on subtle shifts in the character’s numbness. It’s a remarkable performance in a sensitive, empathetic picture.

As superficially entertaining as it all is, it feels like Loquès is on a mission to keep things fun, lively and romantic, to the point where Nino wouldn’t be a massively different film if its hero had been given a clean bill of health.

Pellerin (Solo) is excellent, too, remaining engaging despite Nino's initial impassivity, as he is coaxed into taking stock and summoning his resolve.