If you take yourself back to the cinema hall, where, I’m assuming, you watched one of the biggest cinematic spectacles of the year — Oppenheimer — by master storyteller Christopher Nolan, you will recall that the film paces forward keeping two narratives intact. The black-and-white version is the objective view of the film and the coloured version is the subjective point of view of J. Robert Oppenheimer, as Nolan discloses in an interview post the movie release.