Perched on couches, armed with blankets and slowly munching away–- thank you, Mr Daughton, for the food provisions – our reality on Thursday 2 October was in stark contrast to the enthralling dark story being told. Or perhaps not… the film’s focus was Evagrius Ponticus’ Seven Deadly Sins, and were we not ironically showing inklings of sloth and gluttony?

Se7en begins as it means to end with a fascinating title sequence. The sense of unease and disgust in the images, and even the font, capture an intriguing portrait of what is to come. Not to mention the play of chiaroscuro, which as an art lover I could praise for hours upon end.

Se7en, while not for the fainthearted, could not be truly classified as “gore” or “horror” or even “thriller”. David Fincher’s direction appears to combine a multitude of genres to create a commentary on social perceptions. The prime example is the characterisation of John Doe, a man whose sadistic, violent actions seem otherworldly and yet we, the audience, are interlinked. For John Doe’s name stands for the ‘everyman’; he could be any one of us. So, I urge any one of you to expose yourself to the distorted reality of Se7en.