Although it feels a relatively new occurrence, of Best International film (Or Best Foreign Language film as it was known) nominees also being nominated for the Best Film category at the Oscars, the first example of this happening dates back as far as 1937 with the French film Grand Illusion being the first to do so, although Renoir’s film won neither category.

This year however, sees the third year in a row where two international films have been given these dual nominations, for Norway’s Sentimental Value, and Brazil’s The Secret Agent, which stars Wagner Moura as a political refugee.

1977 and it’s a coming home, of sorts, for Armando (Wagner), who is returning to Recife.

It’s a difficult time for him however, returning as a refugee, due to the fact that he crossed the wrong man, in his position of a senior figure in the engineering unit of a university. The said wrong man was corrupt entrepreneur Ghirotti (Luciano Chirolli), who didn’t take a liking to his position of opposing him one bit.

This led to Armando fleeing, in an attempt to reunite with his young son, who was being looked after by his grand-parents, so they could then move on together to a new life.

Unfortunately for Armando, despite taking on a new identity and new position of work in the city, Ghirotti was not a man to just let a grudge go, and was keen to hunt Armando down in the name of revenge.

This is the follow-up to the bonkers 2019 release Bacurau, that Kleber Mendonça Filho co-directed.

It’s a film, which he also wrote, that starts off with the statement that 1977 Brazil was a time of great mischief, and certainly Mendonça Filho captures that here.

It’s the type of film that has the look – and stature - of a film based on a true story, but that isn’t the case.

It’s beautifully shot, and feels like stepping back in time, with the vivid recreation of 1970’s Brazil.

It’s absorbing too, if a little woolly in places; it’s rich with characters, and the plot intrigues, but doesn’t always reward; for instance, Armando’s wife dies, but it’s never revealed how, despite Armando telling his son that it was from an illness, but the film’s narrative suggests otherwise.

And then there’s the appearance of a hairy leg, which certainly has comedic value, but does dampen the political edge.

And perhaps it’s title loses something in translation, but Armando doesn’t appear to be an agent of any kind, secret or otherwise. He’s a man on the run for his life, and takes another identity, but merely for his own safety, and not in an undercover capacity to reveal the truth.

That said, there’s a warmth and genuine intrigue within, often set against a vibrant – although seemingly deadly – carnival in the city, which evokes the seventies beautifully.

And although not so much a love letter, but certainly a Love hearts sweet message, to cinema itself, with a number of film references, and one of the main locales being Cinema São Luiz, one of the last art house cinemas in Brazil.

There’s a case for the run time of two hours forty minutes being more than a little self indulgent, but in bad weather, it makes for the perfect antidote.

With it being in categories with strong competition, it’s likely to walk away from the Oscars empty handed, but it’s still a worthy trip back to 1977 Brazil for some truly tantalizing mischief.