Although they are a work of fiction and many are dramatised, there are many scenes and films as a whole that are distressing because they unapologetically shine a light on some troubling themes. Despite this, I must stress that YOU SHOULD NEVER TURN AWAY FROM THE SCREEN.

Streaming services were already winning the battle in the modern movie market but they have never shone brighter than during the global pandemic. All the most recent talked-about new film releases have been confined to home streaming platforms. We’ve had the disastrous Artemis Fowl, a live recording of Lin-Manuel Miranda’s musical smash-hit Hamilton, Netflix’s Eurovision Song Contest: The Story of Fire Saga.

Covid-19 continues to pose a threat to countless industries. The events that have taken place this year have brought us all to a halt. Businesses closed for an indefinite period, not knowing when a return would be possible. The film industry was no exception. With cinemas closing across the world and film production being brought to a stop, the world of cinema has felt the ground fall beneath their feet. Now that we are slowly emerging from lockdown, with many cinemas having reopened on the 4th of July, what can we expect from a typical cinema experience?

Each film on Churchill is cast in a very similar mould. It would be scandalous to cast him as a villain. But, for many people in the UK and around the world, that’s precisely how he’s seen. The firebombing of Dresden has been called an immoral act and a war crime, the preventable Bengal Famine led to three million deaths, and Churchill has been often accused of using excessive violence - and these are just some examples. These offences are often hastily swept under the rug, and never talked about again. It’s contentious to dislike Churchill.

Debbie Ocean (Sandra Bullock) plans to steal priceless Tiffany jewellery, while wearing gorgeous dresses. It seems implausible that women would hijack casino games, like the boys did in the original. The “anything boys can do we can do too!” messaging is undermined by the implication that diamonds really are a girl’s best friend.

One of the cinemas that is affected by this is Bristol’s most diverse cinemas for showing a range of inclusive films and media – the Watershed. Having closed their doors back in March, many feel at a loss without its wide range of showings, events and talks. However, with the understanding they may not be ready to reopen until September, the Watershed, like many independent places, have moved online and are doing their best to keep discussions open and engage with people despite the circumstances.

What comes to mind when I say Germany? Getting completely hammered at Oktoberfest, in a lederhosen-wearing, flagon-of-beer-drinking fashion? Or ‘don’t mention the war’ a la Fawlty Towers? One thing that probably won’t be mentioned is German cinema.

I, on the other hand, hadn’t actually even watched many films that people would argue are “a must-see” like The Matrix, Goodfellas or Jurassic Park. So I set myself a kind of mission: to catch up with, seemingly everybody else, and know all these films.

As a film enthusiast and ex-film studies student, I’ve always found it interesting the way films are intrinsically linked with a person’s identity. A person’s favourite film is not only a deeply personal choice but also speaks to a person’s identity.

My dad was a huge influence in how my passion for films has grown; ask him any question about any film from the decades and even if he hasn’t seen it, he’ll most likely know who’s in it, the year it was out and who directed it.