Bikini Girls on Ice: At some point a group of film executives must have been chatting. They want to make a horror film, but how to make the absolute lowest common denominator enjoy it? Thus Bikini Girls on Ice was born, a film which I’m sorry to say I caught on TV. When the historians ask when the our civilization began to crumble, they will say it started here. -Ed Whitbread

24 Hour Party People: 24 Hour Party People, a chaotic, drug-fuelled ode to rock n’ roll, deftly blends fiction with myth with reality as it charts the rise and fall of Manchester’s anarchic music scene throughout the 70s and 80s. Who even needs fourth walls or narrative continuity, anyway? It’d only slow it down.- Ed Brown

Rubber: Quentin Dupieux’s Rubber is a self-proclaimed homage to ‘no reason.’ In it, a tire gains sentience and goes on an explosively psychokinetic rampage. Watched this looking for a ‘so bad, it’s good’ film and discovered a trippy absurdist ride that doesn’t want to say anything about ‘no reason’, just enjoy it. – Joem Opina

The Holy Mountain: Jodorowsky lets loose his creative perversion in his magnum opus – a thrilling cosmic journey through the planets of the solar system and their human incarnations. Once you’ve seen a half-bearded man spray milk into another man’s face from his nipple (that’s covered by a tiger mask, naturally), you’ve seen it all -Gus Edgar

The Forbidden Room: Guy Maddin’s The Forbidden Room is a cinephile’s ecstasy, a delirious traversal through everything that niche-cinema has to offer. Those offerings include a song about a man’s addiction to bottoms (The Final Derriere), and the memories of a moustache in its dying moments. It’s all nonsensical, unintelligible, fascinating stuff. – Gus Edgar

Lost Highway: A jazz musician’s life is destroyed when he is (wrongfully?) convicted for the murder of his wife. His solution? To metamorphose into a teenage mechanic. As a teen in the suburbs he encounters a woman who looks like his wife, though now a mob wife and sporting blonde hair. – Caroline Worning

A Clockwork Orange: One cannot believe their glazzballs during Stanley Kubrick’s A Clockwork Orange (1971). Anthony Burgess’ disturbing and confounding lexis, used by Alex and his droogs, is coupled with Kubrick’s unsettling, dystopian vision. This creates a sensationally insane (it was banned in the UK for 25 years due to the ultraviolence shown), yet horrorshow experience. – Alex Caesari

Underground: Underground is an astonishing and potent injection of soviet surrealism, defying film conventions by seamlessly transitioning between genres. Each is effective – it switches from war to thriller to satire to tragic romance to father-son drama and then back to war, while managing to be equally emotionally resonant at every stage. – Gus Edgar

Enemy: Enemy is a criminally underlooked work by director Denis Villeneuve reteaming with Jake Gyllenhaal. Clearly inspired by Lynch and Kafka, Enemy is an intense, thoroughly unconventional exploration into the theme of the Doppelgänger. It requires multiple rewatches to truly unpack and appreciate its confusing narrative. The ending alone is worthy of the batsh*t insane title! – Oscar D.Huckle

City of Pirates: Applying a deranged interpretation to the classic Peter Pan fable, City of Pirates is a twisted fairytale odyssey that’s impossible to make sense of. Featuring surrealist vistas, sunglasses-wearing skulls, teleporting volleyballs and ponderings on the cyclical nature of life, there certainly seems to be a point; good luck finding it. – Gus Edgar