1917 (2019 Sam Mendes)

OK, there were no Black people in this one (well, one) but we had to experience this other Award winner. And what an incredible experience. Like Birdman it appears to be filmed in a single take, but because of the extremely artful way it's been composed and executed, it doesn't have the same feeling of claustrophobia - where the camera is positioned gives you different compositions and shot sizes, whilst the single take gives you the intensity of the story.

Roger Deakins won his second Oscar and fifth BAFTA for the way he has photographed this, using a variety of kits - Steadicam, Trinity (the three-axis hybrid stabilizer, operated by Charlie Rizek), a cable wire (remote-controlled from a vehicle), or hand-held with a stabilized camera, and the edits are very skilfully blended together by Lee Smith. There's lots of CGI, but it has all been extremely well planned, rehearsed and designed.

Love the way that George MacKay's mate Dean-Charles Chapman appears to have turned an unpleasant colour from his wound in that brief moment he's off camera.

My favourite sequence, lit by flares

Roger's favourite shot

Amidst all this cleverness we occasionally bump into the likes of Danny Mays, Colin Firth, Mark Strong, Andrew Scott, Benedict Cumberbatch and Richard Madden.

Written by Mendes and Krysty Wilson-Cairns, scored by Thomas Newman, production design by Dennis Gassner.

The film won the BAFTA for Best Film and Best British Film, Director, Cinematographer, Production Design, Sound and Special Visual Effects. (We were laughing about the way the sound guys must get annoyed when all their work is then covered over with the score.)

There is an alternative ending - the writing in the letter has been washed away in the river so the attack goes ahead and the brother dies.

No doubt someone's made a Paths of Glory comparison (the tracking shots around the trenches).