Sex and love as toxic to one another - such is the bizarre dichotomy put fourth by The Duke of Burgundy.

Peter Strickland’s latest in a string of all-enveloping exploitation subgenres meticulously burrows through societal taboos to cement new standards of intimacy and sexual normalcy. As ‘normal’ begins to reach its newly-fetishised state of sapphic domination, The Duke of Burgundy starts to reveal its intent. The film elegantly utilises passion and form as developing rivals. There’s a state beyond mere overindulgence, and Strickland’s found it.

Duality, ambiguity and repetition slowly expose the overwhelming decadence of Strickland’s atmospheric content. Through erotica may launch at the half-experienced ideal, love comes through the whole and flawed. Oh, and, possibly the best cinematography of the decade.