Theodore Melfi’s film about three black female mathematicians instrumental to NASA’s progression during the Space Race would always have been an important tale of how sexism and racism erase certain people from history. But in the two years since Margot Lee Shetterly’s non-fiction book was optioned, the film’s reflection on privilege feels even more relevant.

Oscar nominee Taraji P. Henson plays Katherine P. Johnson, a widowed mother of two recently promoted to work in one of NASA’s specialist project rooms. The only black woman in her building, she is forced to drink from a separate coffee pot and run a half-mile across campus to the nearest “coloured” bathroom. The injustice and indignity of this is emphasised through repeated scenes of her running in heels or doing algorithims on the toilet. (Intentionally or not, these scenes also highlight the current plight of trans people, battling to use the restrooms of their choice.)

Octavia Spencer, also up for an Oscar, plays Dorothy Vaughan, who does all the work of a supervisor but is refused a commensurate title and salary. And rounding out the trio is Janelle Monae as hot-headed aspiring engineer Mary Jackson, fighting for her right to get a degree in an all-white, male-dominated college.

The micro aggressions the women face on a daily basis are unbearable; condescension from colleagues, mansplaining by beaus and institutional racism. Spencer’s portrayal of browbeaten disheartenment is subtly devastating, while Henson gets a stunning moment of explosive rage as she explains to her boss (Kevin Costner) the privilege that allows him to remain oblivious to her plight.

However, the on-the-nose dialogue and Melfi’s use of brightly coloured, kitschy sets and modern, upbeat tracks like Pharrell’s ‘Running’ make Hidden Figures feel rather simplistic. Still, the triumph of these women – and the awareness of the prejudice they face – may provide a much-needed rallying cry.