After a week of not releasing numbers, Warner Bros. has finally coughed up a couple for “Tenet.”

The Christopher Nolan time adventure, which cost at least $200 million to make, has earned $29 million in two weeks at US theaters.

Of that, $6.7 million was earned in its second week. It’s not a total bust, but it ain’t great.

Worldwide including the US, “Tenet” has $207 million in the bank. So it’s just $250 million away from breaking even. That might take some time travel and magic and all the things Nolan is known for.

The two and half hour movie has confused and confounded audiences who’ve had to read explanations on line after they see the film. Even then, it’s a headscratcher.

But I really liked it and hope to see it again one day, armed with a codebook and manual.

Meantime, if you’re in Southampton, Long Island, on Main Street, do not go into the store called Tenet and ask them if they know what the movie is about. I tried this and wound up in the Hamptons from the 1990s. You don’t want to go there.

I’m the first to tell you I am out of my depth writing about trans anything, gender fluid issues. I’m respectful of all the different aspects, but it’s not an area of expertise.

Last night I clicked on a film called “A Good Man” on the TIFF Digital press site. I thought it was a new Anthony Hopkins film because of a press release I’d received several times concerning Sir Anthony and the word “Good” in the title.

What I got was a French film that seemed to be about a young, attractive heterosexual couple in Provence. He was a doctor, she was a teacher. They’d moved to a house by the seaside, they told his brother on a visit, because it was easier than living in the city of Aix in Provence. (I thought, really? I’d love to live in Aix.)

The couple had a sex scene, mostly clothed. I remained clueless. It took a while before it dawned on me that something else was happening. But when the couple went to see their ob/gyn about having children, duh! I got it: the husband announced he would carry the child.

I immediately went to the imdb to see what was going on. (The TIFF site purposely gives little information about the plot and the actors.) There was little information except that Benjamin, the husband, was played by Noemie Merlant, the star of last year’s hit, “Portrait of a Lady on Fire.” Benjamin’s girlfriend was played by someone named Soko. Because Benjamin had a closely trimmed beard that certainly looked real to me, it still took me few a synapses to put the puzzle together. I’m slow, but I finally got the whole thing.

I don’t know what trans people will say about “A Good Man,” but I found it extraordinarily moving. The lead actresses do as good work as I’ve ever seen. I would say they are Oscar material, without a doubt. Merlant is mind blowing in conveying — especially to a viewer as clueless as me — textures of emotion both male and female. The director-writer Marie-Castille Mention-Schaar and her co-writer Christian Sonderegger should be commended on all levels for peeling back this story like an onion. The more layers come off, the more absorbed you become. Who is the mother? The father? The husband? The wife? (There’s one great moment when Soko returns from shopping for a small crib only to find that Benjamin has made one. She is stunned: what place is there for her in this arrangement?)

I don’t know how they paid for “A Good Man” — there’s one production company listed, and it’s theirs. This is a very indie film. I do hope Sony Pictures Classics take a look at it, and France considers it as their Oscar entry. Merlant, again, is superb. I don’t know if a movie has ever covered this subject. I’ve never seen one like it. Bravo!

By the way, “A Good Man” was announced as a selection of the 2020 Cannes Film Festival that didn’t happen. It just shows that Thierry Fremaux and his staff have excellent taste. If this had played in Cannes it would have been the talk of the Croisette.

Well, we knew “Ammonite” — even with a good lesbian sex scene — was not a good movie. It was screened at the Toronto Film Festival tonight but not for press. Why not take a billboard out that says, “This sucks.”

We’ve already in recent years the French “Blue is the Warmest Color” and more recently “Portrait of a Lady on Fire.” They went…nowhere. And you could also tell things weren’t good when the publicity was already about the sex scene. We’re already getting mechanical drawings. So.

The Playlist: “Ammonite” sadly feels too distant, underpowered and colorless for its own good, as if somewhere down the line, its heart had died and hardened like a fossil waiting to be discovered.”

Vanity Fair: “has many trappings of contemporary indie moviemaking: it’s grim, spare, and so carefully sapped of vim it can barely breathe. It’s what a lot of Serious Cinema aims to be these days, opaque and withholding in a chilly gesture toward all the passion supposedly roiling beneath the surface.”

Variety: “However Committed, Kate Winslet and Saoirse Ronan Can’t Spark Sodden Romance”

IndieWire: “My favorite scene in the ice-cold AMMONITE involves an unwell Saoirse Ronan being dumped into a swirling, frigid sea against her wishes. That’s sort of how this hollow drama feels all the way through, but at least the sea-dump had some energy and emotion.”

OK, so let’s move on. I can wait until November to not enjoy this movie. Now that I’ve seen Frances McDormand in “Nomadland” and have an idea of Jennifer Hudson in “Respect,” my Best Actress list is lining up nicely. Halle Berry may be on it, too. “Ammonite” is something I’ll use to get out those nasty spots.

Chloe Zhao’s “Nomadland” is truly a work of art, a beautiful movie that restores your faith in film and life, especially after the last few months. Frances McDormand will get an Oscar nomination, accolades, she may win, who knows? It doesn’t matter. She doesn’t care, frankly. She’s won already for two movies and should have won for others. But this performance is transcendent. She’s stripped away that caustic, defensive character she usually plays and found some kind of inner peace that glows like the desert at sunset Zhao fills the screen with in “Nomadland.”

Did I like it? I was clapping at home just now in front of my computer watching the press link from the Toronto Film Festival. If they’d shown this in the Princess of Wales theater, there would have been a 10 minute standing ovation and Frances would have left– she’s like that. A lot of the applause would have been first for David Straithairn, who gives his usual lovely performance and as a fellow traveler McDormand’s Fern meets on the road.

But the real cheering should be for the real nomads, the real people featured in the film by Zhao. They’re not “homeless,” as Fern says, they’re “houseless.” They live  in vans and migrate around the west, from Nevada to South Dakota to Arizona, working at Amazon the way migrants use to pick grapes, never staying anywhere long even though they could if they wanted. Two women and one man are standouts: Linda May, Bob Wells, and “Swankie,” all three of whom give the film an expected poignancy as amateur actors sort of but not actually playing themselves.

There’s a gorgeous score by Ludovico Einaudi that I hope was written for the movie so it can be nominated as well.

Jessica Bruder wrote the book upon which the movie is based. According to the imdb she’s a journalist who writes about subcultures. “For her book Nomadland, she spent months living in a camper van, documenting itinerant Americans who gave up traditional housing and hit the road full time, enabling them to travel from job to job and carve out a place for themselves in a precarious economy. The project spanned three years and more than 15,000 miles of driving – from coast to coast and from Mexico to the Canadian border. Named a New York Times Notable Book and Editors’ Choice, Nomadland won the 2017 Discover Award and was a finalist for the J. Anthony Lukas Prize and the Helen Bernstein Book Award.”

Chloe Zhao is much admired for two previous films, “The Rider” and “Songs My Brothers Taught Me.” If she’s not nominated for Best Director then that’s it, I’m sorry. Ava Duvernay and Greta Gerwig have recently been snubbed, but this can’t go on. Zhao I think rhymes with wow. What a pleasure.

Just a PS, I am so disappointed there’s no Q&A following this movie, in the theater, where we can meet the people and ask questions. I need a Peggy Siegal lunch and Q&A session for this film in New York, where people can meet and mingle. This is so important to the process.