"My number two movie is Otto Preminger’s Anatomy of Murder starring Jimmy Stewart — one of my favorite James Stewart performances. He’s the country lawyer, so all those folksy tricks that Jimmy Stewart uses just really come into play here– ’cause he’s also so bright, you know? He’s the brilliant, folksy country lawyer. And Lee Remick is in it, in the flower of her youth. Bra-less and in Ray-Bans — you know, who doesn’t want [to see] that? And gosh, Ben Gazzara in a really neurotic, strange performance. I think it’s the screen debut of George C. Scott as the young lawyer from Lansing, MI, who takes on this case; and he’s — it’s just brilliant courtroom stuff. Murray Hamilton — who plays the mayor in Steven Spielberg’s Jaws — he’s the bartender, and he’s wonderful; it’s a great turn. And the music: Duke Ellington and Ella Fitzgerald, so it’s a great jazz score. The Jimmy Stewart character tinkles on the ivories and he plays a little bit of jazz sometimes as a kind of hobby, so that justifies the score. But that’s a great film — black and white, beautifully shot, underrated. Almost a perfect film."

"I saw this at Helsinki’s Love and Anarchy Film Festival, only missed the beginning of the film, and had to leave early to present my own film at another cinema. This was just a great debut. Really stripped down and honest without the frills and trappings that often come with first film insecurity. I was completely immersed in the couple’s predicament and to my shameful ignorance, there was so much I didn’t know about IVF prior to seeing the film. I’d only seen Josh O’Connor in “God’s Own Country,” but he was just as believable and brilliant in “Only You,” and Laia Costa completely pulled me into the depths of her frustrations. It was also great to see not only a European character in a British film, but also a European played by a European rather than a Brit putting on an accent, which is still often the case. I wonder how that will pan out after Brexit. I had to leave the cinema when the protagonists had a row towards its final minutes and still don’t know or want to know how it ended until I watch it again."

"Had to at least include one from the master Hitchcock. Being the huge De Palma fan that I am, it would be tough to not be a huge Hitchcock fan as well. Bronwyn loves Ingrid Bergman and was the person to introduce me to Notorious when we were younger. What I love about this film is that you get this sincere, Old Hollywood romantic chemistry between Bergman and Cary Grant, in addition to some classic Hitchcock greatness. We project films while we write and record, and this film played a lot during the making of our debut album. Fritz Lang is another one of the greats who I had to have on this list. I first discovered his films through Giorgio Moroder’s 1984 restoration of Metropolis, whose iconic image of the robot on the soundtrack and posters always intrigued me as a child, and once I eventually saw the film, it quickly became one of my all-time favorites. Most who have seen it, The Testament of Dr. Mabuse, and M will agree that Fritz Lang is one of the best to have ever done it, but perhaps no one film has earned him that reputation more than M."

"I got into this a few years back when I was really getting going with the solo thing. I thought, “This is unusual.” It reminds me a bit of ESG. I really love that delivery – those female vocals that have a drive, power and confidence but are punk and not flying around everywhere. It’s edgy and cuts through in a really cool way. It’s so refreshing in these days of immediacy to hear something like this. I hear some debut EPs that sound like really expensive records and you think, “Where’s the growth coming from here?” When we first started out it was always about playing together ’cos there was no other option – I was too young to get a gig and I wasn’t allowed in venues – so you play, write, mess around and watch movies. There were no distractions, we were just a gang in a living room in front of an open fire, messing around. We did some quick bashed-out B-sides and ropey gigs but it was about the attitude. I wish I saw more uncertainty and vulnerability in young artists."