Quite possibly the most notorious arthouse film of all time, Saló, or the 120 Days of Sodom transposes the book by the Marquis de Sade with the fascist Italian government of 1944. A descent into pure moral and sexual depravity, Pier Paolo Pasolini, in his final film before his murder, makes visual the exploitation of the common person by the fascist bourgeoisie under Benito Mussolini. Acts of unrelenting sexual humiliation and torture make for two hours of discomforting socio-politcal metaphor.

Rightfully considered shocking on its release, and equally so now, this has been a film that has polarized audiences and critics alike in debate as to whether or not the grotesqueries splayed across the screen are justified artistically. But today, with the Epstein Files being released and it becoming clear that the rich and powerful actually do these types of things, it feels like Saló might now be a little too close to a documentary for comfort.