Since the first edition of this guide, three months ago, there has been a key development in the world of film depending on your tastes. Similar to the 'post-factual' minefield that followed the EU referendum (where the message didn't really matter as long as the words were heard) we now potentially enter a period of 'post-quality' cinema (where the Ghostbusters remake became one of the year's most successful films as a result of its social context as opposed to its quality). No one really cared that Ghostbusters wasn't very good, and that the hype has now all but diminished, but the heated social debate that emerged as a result stuck, and the content of that discussion became the predominant focus point of the film from a critical perspective.

Film critics are largely underprepared and unqualified to wade into such a debate, but nevertheless was conducted with such intensity that actual criticism somewhat fell by the wayside. In this vein of writing it is undoubtedly important to understand the social and historical context of a film, but surely not at the expense of a comment on its quality?

So perhaps Ghostbusters marks our entry into the era of 'post-quality cinema', where a director and a studio can aim to bypass the criticism levelled at their work by drawing attention over to controversy. The same thing would likely have happened with an all-male Clueless, or a posh Nil by Mouth, with some likely to view these hypothetical films in order to legitimise their voice in the discourse, rather than actually watch.

But, at the risk of sounding jaded and cynical, here are some pretty good films out in the next three months.

American Honey

British director Andrea Arnold made it 3 for 3 in Cannes Jury prize wins with her latest film American Honey, a feat that no other director has ever achieved. Since emerging in 2005 with the Academy Award winning short Wasp, Arnold has forged a career that has seen her break into the upper echelons of modern English cinema, occupied by the critically adored Jonathan Glazer and Lynn Ramsay also. And so with a combination of distinctive style and considered introspection, Arnold's Fish Tank and Red Road are rightfully considered some of the best British films of the 21st century, with American Honey looking to continue this winning streak with its October release.

Transporting her focus across the Atlantic to the American Midwest, American Honey is set to be a melancholy road movie for the dazed and confused millennial, bringing together an energetic study of hard partying and youth with an inquiry into this generation's place in the world. Story wise, the film follows a teenage girl's journey across the USA with a team of magazine salespeople, and her subsequent immersion into a life of drugs, crime, sex and freedom.

Early trailers suggest a departure from the bleak palette of Fish Tank, although Arnold has seemingly developed into a master of transition, one able to seamlessly drift between misanthropy and optimism, so the film's defining tone is yet to be fully revealed. What is sure however, is that American Honey will introduce a whole new audience to one of Britain's current most important filmmakers, and her unique style and vision.

The Birth of a Nation

Though still firmly a showcase of independent cinema, Sundance will every so often spit out a film that immediately courts a wider audience. Little Miss Sunshine (2006), Reservoir Dogs (1992) and Sex, Lies and Videotape (1989) all count themselves as alumni, with their achievements at the festival launching the careers of their directors and propelling them far beyond their predicted reaches. This year's success story looks to be Nate Parker's The Birth of a Nation (2016), a period drama concerning the life of a 19th century American slave which sold for a record $17 million, and is now seemingly a front runner for the approaching awards season.

After the triumph of 12 Years a Slave (2013) Hollywood seems finally ready to tackle its nation's plagued history, and TBoaN's slow-burning gaze will no doubt explore some of the country's darkest times. Coming at a time when Black America is once again experiencing a period of great unrest, the film will likely address contemporary struggles as much as it does those from throughout history, providing a study of not only slavery, but America's longstanding attitudes towards its own national identity.

As Parker's directorial debut, it's visual and stylistic traits remain something of a mystery, though early reports suggest a vast scope that incorporates themes of romance and compassion alongside the darker ideas.

I, Daniel Blake

With a second Palme D'or now to his name, Ken Loach joins an exclusive club comprised of Michael Haneke, Alf Sjöberg, The Dardenne brothers, Shohei Imamura, Francis Ford Coppola and Emir Kusturica, which, in terms of film history, is not bad company to be in. The director has long been one of Britain's most quietly celebrated cultural exports, and should no doubt be mentioned in the same breath as some of the medium's greatest.

His latest film, I, Daniel Blake, should benefit immeasurably from its relevance to current events, as it concerns the endeavours of an ill, working class man, attempting to navigate the endless red-tape of the benefits system. Loach has developed into something of champion for the lower classes since the landmark Kes back in 1969, and has gone on to craft a perspective that depicts human life with compassion, detail and skill.

It is not often that a film as strong as I, Daniel Blake comes along to intersect so effectively with its subject matter, but for a long time now, Loach has been addressing the state of the nation as it unfolds, aiming articulate criticisms at government, society and the wider world with stunning precision and intelligence.

From Afar

Another promising directorial debut, this time from Venezuelan director Lorenzo Vigas Castes, From Afar won critics over at this year's Venice Film Festival, and took home the top prize and a string of rave reviews to boot. In terms of narrative, From Afar explores ideas of class and sexuality by way of a story concerning a wealthy middle aged man becoming romantically involved with a young man from a violent street gang, and plays on the age-old mismatched couple with higher than usual emotional stakes.

Impressing with a heady mix of intense realism and melancholy yearning, From Afar was immediately noted for its acting which features a standout performance by acclaimed Chilean actor Alfredo Castro, in the challenging role of a man compelled to follow his desires and pursue the boy that attacked him. Dark, moody and shot through with a compelling sense of danger, Castes' film tackles the taboo subject of homosexuality in South America with flair and power.

It remains to be seen whether the film will find a wider audience considering its tone, but it will regardless be a strong contender for the foreign language category at this year's Academy Awards if nominated. And so with all the political damage that Venezuela is currently at the mercy of, From Afar may just eventually come to establish itself as an important document of the nation's history.

Manchester by the Sea

No, not that one, not the best city in England, but the one in Massachusetts instead, the one by the sea. Kenneth Longeran's drama follows the story of a man asked to step in as guardian of his nephew, following his brother's death, forcing him to move back to the eponymous shoreline community he thought he'd left for good.

Manchester by the Sea looks set to be a sort of transatlantic The Shipping News (2001) and less overtly quirky Garden State (2004) rolled into one, with a dash of sweet, sweet Boston accent thrown in for good measure. Longeran's writing credits include both Analyze This (1999) and Gangs of New York (2002) so that's quite a spectrum of tones he's got to work with, but a strong script can quite easily carry a film to curveball awards season glory (See: Slumdog Millionaire) despite the odds, and the strong Casey Affleck and Michelle Williams lead cast only adds to this strength.

Longeran's best work is the now the fading memory of You Can Count on Me (2000), but if Manchester by the Sea is able to gain him some much needed directing traction then we may perhaps see him behind the camera of a not so surprising award contender in the not too distant future.

Sid and Nancy

Celebrate punk's 40th anniversary with a bottle of Cossack, some cigs and a leather jacket, just as Sid himself probably would, but maybe swap out the gak for this reissue of the brilliant Sid and Nancy (1986) instead.

A deep cut from the golden Oldman era, the film remains a cult classic for punks both seasoned and blossoming, and a portal into the punk ethos and the final days of its infamous poster boy. Alex Cox's biopic depicts Sid Vicious and Nancy Spungen as the erratic, unpredictable heroin addicts they were, but from the tragic co-dependency extracts a detailed portrait of a troubled young couple, lost out in the world.

Watch it for the music, watch it for the attitude, or simply watch it for the "fabulous disaster" that is Sid Vicious; it still hasn't lost its edge.