Nightmarish images of squirming bodies flashed across three large screens on stage.

Lasers pulsated and the speakers – overloaded with bass – boomed as though they were coming close to breaking point. This was just one section of Chris Cunningham live: an intense light, sound and visual show, which gave Brightonians a chance to see the acclaimed director’s work first hand.

Throughout the spectacular hour-long show, brand new footage and music was fused with some of Cunningham’s most celebrated works. These included Aphex Twin’s Windowlicker, and Rubber Johnny, the director’s darkly imaginative short film.

His serene video for Bjork’s All is Full Of Love was left out, but in the context of the show, this omission made sense.

Reflection didn’t seem to be what Cunningham was striving for.

Instead, what shone through was a preoccupation with the visceral. From flailing bodies, to deformed faces chattering, this was gut-wrenching stuff that packed a punch and made you sit up straight.

It was only in the final scenes of the performance, with a beautiful new video of the soul singer Gil Scott Heron – wearily surveying the New York skyline as he mused about being worn down by the city – that any sense of peacefulness crept in. Even at this point, you could feel an unsettling darkness bubbling under the surface.

The stunning show ended with Cunningham stepping out from behind his laptop and giving a brief wave before shifting back into the shadows; the place where, you get the feeling, he is probably most comfortable.