Your Neighbourhood Cinema for Fine Films

Hayle Film Club meets on the second Saturday evening of each month, plus the third or fourth Thursday (check the schedule), upstairs at our village hall, the Passmore Edwards Institute, 13-15 Hayle Terrace. Screenings begin with an introduction at 7.30pm. On Saturdays, everyone is welcome to stay for free homemade refreshments after the film ends.

Tickets remain a reasonable £5 per person for general admission, £4 per person for members (membership is £7.50 per year).

Card-carrying C-Fylm members are welcome and will be admitted at the members price.

NOTE: Films classified as F Rated (just one this season) are those that: 1) are directed by a woman; 2) are written by a woman; and/or 3) feature significant women on screen in their own right. Developed by the Bath Film Festival, the rating is designed to support and promote women and redress the imbalance in the film industry. Highlighting these films sends a clear message to distributors, producers and funders that women can and should have more than just a supporting role within the industry.

Our 2020 Winter-Spring Programme

SATURDAY, 11 JANUARY – 7.30pm   (to be preceded by our AGM at 7.15pm)


2019 | UK | Biopic | Directed by Rupert Goold. Starring Renée Zellweger, Rufus Sewell, Jessie Buckley. 118 min. Rated 12A.

It’s winter 1968 and showbiz legend Judy Garland (Renée Zellweger) arrives in Swinging London to perform a five-week sold-out run at The Talk of the Town.

It is 30 years since she shot to global stardom in The Wizard of Oz, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of love seem undimmed as she embarks on a whirlwind romance with Mickey Deans, her soon-to-be fifth husband.

Having received in Judy some of the best reviews of her career, Zellweger just won a Golden Globe award for Best Actress and has been nominated for a Bafta as well as by the Screen Actors Guild, with the expectation that an Oscar nomination will follow a few days after our screening.

“At its strongest, the film captivates; it grabs you by the heart and demands adoration. And in a film about Judy Garland, you would expect nothing less.” – Wendy Ide, Observer ★★★★

Judy can be unsubtle and schmaltzy. And most of the cast are underused, just there to make Zellweger look good. Just concentrate on Garland’s emotional journey, though, and you’ll be fine.” – Charlotte O’Sullivan, Evening Standard ★★★★


WOMAN AT WAR  (Kona fer í stríð)

2018 | Iceland | Environmental Drama-Adventure-Comedy | Directed by Benedikt Erlingsson. Starring Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Jörundur Ragnarsson, Juan Camillo Roman Estrada. 101 min. Rated 12A. In Icelandic, with English subtitles.

From Icelandic director Benedikt Erlingsson, who scored an art house hit with 2013’s triumphant Of Horses and Men, comes another pleasingly off-the-wall story that winningly combines an absurdist comedy with a tense thriller.

Halla (the formidable Halldóra Geirharõsdóttir) seems to lead a quiet and routine existence, including as a choir director. But her happy and upbeat exterior hides a secret double life, wherein she also operates as a committed environmental activist. Known to others and in the media only by her alias “The Woman of the Mountain,” she is a Joan of Arc-esque figure, armed with an elaborate bow and arrow, dashing across the countryside to vanquish offenders.

But as she begins to plan her boldest operation yet, and as the government attempts to discredit her, she receives unexpected news – forcing her to choose between her environmental crusade and the chance of fulfilling another, more personal dream.

Playful, touching and funny, Woman at War is confidently and stylishly made, sound-tracked by Icelandic folk music (played quirkily and incongruously by musicians on-screen) as it follows its appealing, fierce and focused heroine as she ponders whether to continue directing her substantial energies out into the world.

“Amid the jet-black comedy of Woman at War, which takes as its catastrophic subject matter the despoliation of planet Earth, there is a warmth, wit and wisdom that transcend national and cultural boundaries, making this a truly universal treat.” – Mark Kermode, Observer ★★★★

“There’s a visual grandeur to her mission as Halla faces off against drones and the power grid. Cinematographer Bergsteinn Björgúlfsson shoots his Icelandic landscapes with such an eye for its barren beauty that it makes her motivation crystal clear. This is a beautiful world that is well worth saving.” – John Bleasdale, Sight & Sound



2019 | US | Crime-Comedy | Directed by Rian Johnson. Starring Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Ana de Armas, Don Johnson, Toni Collette, LaKeith Stanfield, Christopher Plummer, Joseph Gordon-Leavitt. 130 min. Rated 12A.

Premiering at the 2019 London Film Festival, Knives Out is the latest title from acclaimed writer and director Rian Johnson (Brick, Looper, Star Wars: The Last Jedi).

Murder mystery novelist Harlan Thrombey (Christopher Plummer) is a veritable one-man crime-fiction industry and his adult children — and their children — have been living off him for years. When he turns up dead, the apparent victim of a murder, it seems that no one has a motive for killing the golden goose. At least, that’s what the detectives assigned to the case think.

But Benoit Blanc (Daniel Craig) — the debonair “Kentucky-fried” private investigator mysteriously hired by an anonymous source — has other ideas. With a superb cast of recognisable faces at their arch best, this film is impeccably written and designed, full of unexpected twists and turns from start to finish.

Director Johnson clearly knows his mystery genre greats from fiction, television and film. Agatha Christie, Murder, She Wrote and Sleuth are some of the reference points. But while always aware of the conventions, here Johnson does for the murder caper what he did with Brick for noir and Looper for science fiction. He injects them with fresh magic and shows you whole new ways of looking at a beloved genre.

Knives Out is a classic whodunnit and as sharp as the blade that killed the patriarch at the heart of the film.

“A viciously droll game of movie Cluedo, the murder mystery dusted off for the modern age….” – Danny Leigh, Financial Times ★★★★

“Built upon a wittily verbose script that delivers more laugh-out-loud lines than most of the year’s alleged comedies, Knives Out retains a beating human heart into which daggers are regularly plunged.” – Mark Kermode, Observer ★★★★

“Casting an ensemble film is a little like perfecting a cocktail blend, balancing flavours until they sing together in harmony. Knives Out hits the mark here: the actors all feel well suited to their roles and they bounce off each other with ease.” – Clarisse Loughrey, The Independent ★★★★



2019 | UK | Drama | Directed by Ken Loach. Starring Simran Kaur, Debbie Honeywood, Kris Hitchen, Rhys Stone, Vicky Hall, Nikki Marshall. 101 min. Rated 15.

Ken Loach returns to the milieu of 2016’s I, Daniel Blake with the fierce, vital Sorry We Missed You, supported by his long-time screenwriter Paul Laverty and producer Rebecca O’Brien. A passionate indictment of Tory austerity, it explores how the British economy’s odds are increasingly stacked against the working class, via the incendiary story of one family’s struggle to achieve anything but basic survival on an unpredictable minimum wage.

Ricky (Kris Hitchen) lost his job and mortgage in the 2008 financial crash. Now renting with his wife Abbie (Debbie Honeywood), a contract nurse and carer and their two kids, he is unable to pass up a job driving for a big delivery company. But it turns out the zero-hours job offers no support and no benefits; he must buy or lease his own van and meet strict and unreasonable targets. Alarmed by their rising debts, and with his wife facing exploitative pressures in her own job, their family life becomes ever more toxic.

Rigorously researched via off-the-record interviews, Sorry We Missed You depicts the ruinous cost of zero-hours contracts with gut-wrenching honesty and integrity. A furious and heart-breaking film, it offers a rigorous and damning critique of our unequal system; showing how it unscrupulously exploits people, especially those from lower socio-economic backgrounds, and robs them of dignity, agency and hope for change.

“It’s fierce, open and angry, unironised and unadorned, about a vital contemporary issue whose implications you somehow don’t hear on the news . . . this brilliant film will open minds.” – Peter Bradshaw The Guardian ★★★★★

“Ken Loach’s new film arrives at a time when the gig economy is thriving without an end in sight, promising those in need choice and control when the reality is not just untrue, but life-threatening. This is a pivotal chapter for Britain, where thousands of families like those that Ricky and Abbie have created are struggling to survive, and the director is not in the mood to muddle messages.” – Beth Webb, Empire Online ★★★★

“This is a film that, like Sean McAllister’s recent documentary A Northern Soul, gets down to the nitty-gritty of austerity Britain, pondering whether aspirations for something better can be sustained against the reality that unrelenting drudgery remains the only available option for society’s have-nots.” – Trevor Johnson, Sight & Sound


SATURDAY, 14 MARCH – 7.30pm


2019 | UK | Biopic-Drama | Directed by Gavin Hood. Starring Keira Knightley, Matthew Goode, Matt Smith, Ralph Fiennes, Jeremy Northam, Rhys Ifans, Conleth Hill. 112 min. Rated 15.

As a government employee or contractor, is it ever right to leak state secrets? And when should an individual decide if this is in the national interest?

These are the almost impossibly weighty questions faced by whistleblower Katharine Gun, an ordinary government contract worker faced with an extraordinary choice.

In 2003, on the eve of the illegal UK-US invasion of Iraq, Gun, an interpereter, learns via memo that that she is expected to search out incriminating personal details in the lives of UN representatives from small countries so that they could be blackmailed into voting for the invasion.

Knowing full well her legal responsibility as an employee, based at GCHQ in Cheltenham, Gun weighed up her duty as one trusted with national security, but also the risks to her family’s security (her husband, Yasar, was a Turkish asylum-seeker awaiting permanent residence status) — and decided she must release this information for the national good.

Keira Knightley gives an excellent performance as Gun — bringing both a refreshing lack of self-consciousness and an urgency to the role — alongside a strong ensemble cast, including Rhys Ifans as reporter Ed Vulliamy, Matt Smith as journalist Martin Bright, Conleth Hill as Observer‘s editor Roger Alton, Ralph Fiennes as human rights lawyer Ben Emmerson, and Jeremy Northam as one-time liberal barrister Ken MacDonald.

This is a story that remains incredibly relevant to this day. Not least an early scene where Gun says to the television, “Just because you’re the Prime Minister, it doesn’t mean you get to make up your own facts.”

“It is a beady-eyed spy drama that has shrewd things to say about the British establishment’s tendency to spite under pressure, about the eternal duality of cockup and conspiracy, about the Kafkaesque problems involved in defending yourself legally against a treason charge, and, importantly, about the kind of young, vulnerable people that we end up depending on to tell us how we are governed.” – Peter Bradshaw, The Guardian ★★★★

“The film elicits a palpable chill as the full, sinister weight of the state apparatus bears down on Katharine and Yasar . . . it’s sound evidence that going back to the well – especially when it concerns a true-life account as incendiary as Gun’s – can still reap rewards.” – Matthew Taylor, Sight & Sound

“Keira Knightley is terrific . . . ” – Kevin Maher, The Times ★★★★

THURSDAY, 26 MARCH – 7.30pm


2019 | US-China| Comedy-Drama | Written and directed by Lulu Wang. Starring Shuzhen Zhao, Awkwafina, X Mayo. 100 min. Rated PG. In English and Mandarin, with English subtitles.

After learning their beloved matriarch has terminal lung cancer, a family opts not to tell her about the diagnosis, instead scheduling an impromptu wedding-reunion back in China.

Headstrong and emotional writer Billi, born in China and raised in America, rebels against her parents’ directive to stay in New York and joins the family as they awkwardly attempt to rekindle old bonds, throw together a wedding that only Grandma is actually looking forward to, and surreptitiously say their goodbyes.

A heartfelt celebration of both the way we perform family and the way we live it, The Farewell masterfully interweaves a gently humorous depiction of the good lie in action with a thoughtful exploration of how our cultural heritage does and does not travel with us when we leave our homes.

Writer/director Lulu Wang imbues The Farewell with warmth and knowing wit, while the uniformly excellent ensemble cast (anchored by a breakout performance by Awkwafina as Billi) invites us to share this extended clan’s joy and sorrow—and to feel, for the length of this remarkable film, like a part of their family..

“Ultimately, it’s all about balance, a yin and yang of roots and identities, humour and pathos that comes together into a satisfying, bittersweet wedding banquet of a movie.” – Wendy Ide, The Guardian ★★★★

The Farewell is one of those rare and precious comedies that is as hilarious as it is tragic. It’s humanity, encompassed.” – Clarisse Loughrey, The Independent ★★★★★

SATURDAY, 11 APRIL – 7.30pm


2018 | UK-Sweden | Romantic Drama | Directed by Harry Wootliff. Starring Laia Costa, Josh O’Connor, Natalie Arle-Toyne, Isabelle Barth, Tam Dean Burn. 119 min. Rated 15.

As Glasgow celebrates New Year’s Eve, a chance encounter brings Jake (Josh O’Connor) and Elena (Laia Costa) together and the attraction is instant.

Sexy and smitten, they’re totally swept up in each other and the relationship develops at speed. Sure, there’s an age gap (she’s nearly 10 years older, a detail initially understated), but not one that matters to them, especially when everything feels this good. But this bliss is tested when the couple consider starting a family and hit a brick wall of biology.

For her feature debut, director Harry Wootliff has crafted an authentic romantic drama that is fearless in its look at modern love, particularly the emotions and practicalities surrounding fertility. It’s a rarely explored topic, brought vividly to life by O’Connor and Costa, two of the most charismatic onscreen presences in contemporary cinema.

Costa became an overnight sensation in 2016, for her award-winning performance in the nerve-wracking Berlin heist thriller Victoria (shot at night in a single continuous take), while O’Connor played Lawrence Durrell in the ITV series The Durrells and currently portrays Prince Charles in seasons 3 and 4 of The Crown.

“A terrifically engrossing drama about two wholly believable characters, made with the kind of wit, honesty and raw emotional intimacy that pierces right to the heart of their relationship.” – Mark Kermode, Observer ★★★★★

“A poignant and compelling Venn diagram of passion and heartache . . . [with] enormous tenderness and sensuality in the lead performances.”  – Peter Bradshaw, The Guardian ★★★★

“It’s a remarkably mature love story, in which romance doesn’t lead to an ideal life but to a partnership of two people who have grown together through suffering.” – Pamela Hutchinson, Sight & Sound

THURSDAY, 23 APRIL – 7.30pm


2019 | UK-Cornwall | Drama | Written and directed by Mark Jenkin. Starring Edward Rowe, Mary Woodvine, Giles King, Simon Shepherd, Isaac Woodvine. 89 min. Rated 15. TO BE FOLLOWED BY A Q&A WITH MARK JENKIN.


From Peter Bradshaw in the Guardian, 2 February 2020 – “One of the purest pleasures of the night was the outstanding British debut award going to Mark Jenkin for his amazing 16mm black-and-white film Bait, an adventure in the style of early cinema, which is also a piercingly emotional story of two Cornish brothers. What a triumph for Jenkin: a terrifically distinctive talent. I take an immodest pleasure in pointing out that I was the first critic to evangelise for this film.”

“The view may be beautiful, but you can’t eat it.” Cornwall-born filmmaker Mark Jenkin’s debut feature Bait met with adoring critical acclaim following its premiere at the 2019 Berlinale. Continuing the celebration of hand-made filmmaking, it’s shot in grainy 16mm black and white and chronicles a Cornish coastal town under threat from modernity.

Fisherman Martin (Edward Rowe) is at war with his brother Steven (Giles King), who has appropriated their boat for tourist cruises. He’s also bristling against Tim and Sandra Leigh (Simon Shepherd, Mary Woodvine), the well-off Londoners who bought his childhood home and whose son is displeased by his sister dating Steven’s broodingly handsome boy Neil (Isaac Woodvine). As the end of summer nears, a misguided prank leads to rising tensions.

Around this drama, Jenkin has fashioned a film that feels original, experimental and often mythic in its observations of the timeless natural world alongside the everyday human one. Strikingly atmospheric and stylistically bold, rooted in local culture and community, it is a stark story, at once timeless and nostalgic and angrily contemporary, and positions Jenkin as one of the most exciting voices in British cinema today.

“Jenkin feels like a wholly new voice fallen out of the clear west country sky. For all the anger, his tone is teasing, joyfully hard to place.” – Danny Leigh, Financial Times ★★★★

“Strange, spellbinding and timely. One of the most thrillingly original British films in years.” – Adam Woodward, Little White Lies ★★★★

“Cornish filmmaker Mark Jenkin’s breakthrough feature is a thrillingly adventurous labour of love – a richly textured, rough-hewn gem in which form and content are perfectly combined.” – Mark Kermode, Observer ★★★★★