This science-fiction potboiler will no doubt capture the interest of the more discerning genre fan by the film’s geographical location alone. Those expecting something wholly original and with something more to chew on thematically than most recent sci-fi films and shows may find themselves a little short changed with what is on offer here.

It began with a Freudian script by Poe fan, playwright and cryptographer Leo Marks, who considered his role as a (famous) WWII codebreaker a highly voyeuristic one. It was such a personal project for director Michael Powell that he cast himself and his son as (abusive) father and (disturbed) child. It was famously condemned by critics of the time: Sight & Sound’s Derek Hill likened it to concentration camp atrocities, while, in 1994, Dilys Powell boldly admitted it was a masterpiece, reversing the hatred she expressed decades earlier.