Being live, collective and usually drug-enhanced, the "rave" experience has never been easy to replicate on film. But wherever there's a ramshackle youth movement, there's a clueless cash-in and, as with 60s psychedelia, Hollywood got it entertainingly wrong more often than it got it right (two words: Matrix Reloaded). Two exceptions were Doug Liman's Go (featuring Katie Holmes, Sarah Polley and Scott Wolf), which had fun with the LA warehouse party scene, and Blade, whose great bloody opening (to the Pump Panel Reconstruction Mix of New Order's Confusion, trackspotters) was the last word in clubbing exclusivity. For once, the Brits knew best.

Danny Boyle's Trainspotting was ostensibly the first rave generation film, in attitude at least, though apart from Underworld's Born Slippy, the soundtrack was pretty rock-based. Instead, prime contender for the best time-capsule rave document would have to be 1999's Human Traffic, made by 25-year-old Justin Kerrigan and starring John Simm, Shaun Parkes and Danny Dyer. A confused Roger Ebert described it as "a sad comedy about druggies in Wales", which shows just what a good inside job it did on the musical tribalism, vinyl fetishism, back-of-taxi banter and live-for-the-weekend ethos of generation rave.

The soundtrack (supervised by Pete Tong) is pretty representative too: Felix Da Housekat, Fatboy Slim, Carl Cox, Primal Scream … those were the days, eh? In fact, there wasn't much left to say after Human Traffic – apart from the occasional club scenes in films such as Black Swan or Tron, and, of course, Michael Winterbottom's oddball biopic of the Hacienda era, 24 Hour Party People. Actually, send-up movies such as It's All Gone Pete Tong and, particularly, Harry Enfield's Kevin & Perry Go Large captured the reality of Ibiza clubbing as accurately as any serious effort. The good news is, many veterans of 90s dance are doing a nice line in movie scores themselves these days, among them Moby, Daft Punk and the Chemical Brothers. Sorted!