WELCOME TO HAYLE FILM CLUB!

Your Neighbourhood Cinema – Fine Films & Friendly Faces

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).

Our 2017 Autumn Programme

NOTE: Films classified as F Rated (three 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.

SATURDAY, 9 SEPTEMBER – 7.30pm

THEIR FINEST

2016 | UK| Comedy-Drama | Directed by Lone Scherfig. Starring Gemma Arterton, Sam Claflin, Bill Nighy, Jack Huston. 117 min. Rated 12A.

Continuing her fascination with British manners, Danish director Lone Scherfig (An Education, The Riot Club) delivers another evocative study of a transitional period in our history.

Their Finest once again follows a young woman finding her way through the changing order of the nation, this time enjoying the new freedoms afforded to women during World War II as well as battling new opposition.

Gemma Arterton stars as Catrin, a talented young copywriter enticed to London from Wales by her artist husband (Jack Huston). She gets a job as a script editor with the Ministry of Information, where she’s hired to write convincing women’s dialogue for morale-boosting propaganda films. Quickly noticed for her natural ability, she’s drafted by dashing movie producer Buckley (Sam Claflin) to work alongside a colourful crew to produce the stories the nation needs during the Blitz.

Based on Lissa Evans’s novel Their Finest Hour and a Half, debut screenwriter Gaby Chiappe’s adaptation blends shrewd wit with a lot of heart, resulting in a charming, nostalgic and spirited wartime drama as well as a minor valentine to filmmaking. Best of all is Bill Nighy, as Ambrose Hilliard, a conceited old thesp struggling to embrace the idea he is playing a supporting role (“a shipwreck of a man, sixties, looks older”) rather than a romantic lead.

“Anchored by a superb Gemma Arterton, Their Finest is a funny, winning, beautifully acted ode to working women and cinema.” ★★★★ Ian Freer, Empire

“A Dad’s Army-esque take on wartime spirit that is comic and uplifting while highlighting the role of women in the war effort. Worth watching if only for Bill Nighy, floridly ridiculous as ageing thespian Ambrose.” – ★★★ Tarn Rodgers Johns, Financial Times

THURSDAY, 21 SEPTEMBER – 7.30pm

THE SALESMAN

2016 | Iran/France | Drama | Directed by Asghar Farhadi. Starring Shahab Hosseini, Taraneh Alidoosti, Babak Karimi. 125 min. Rated 12. In Persian, with English subtitles.

Winner of this year’s Oscar for Best Foreign Film, from celebrated Iranian auteur Asghar Farhadi, The Salesman also won awards at Cannes in 2016 for Best Screenplay and Best Actor (for male lead Shahab Hosseini). By winning two Academy Awards in the space of five years (the first was for A Separation in 2012), he has already done a considerable amount for Iranian/US relations.

The Salesman covers similar territory to Farhadi’s last two films, A Separation and The Past, examining as it does the strained relationship of a middle-class married couple, Rana (Taraneh Alidoosti, a longtime collaborator with Farhadi) and Emad (Hosseini).

Emad is a teacher and Rana his stay-at-home wife. In their spare time, they’re also part of a theatre group, working on a production of Arthur Miller’s Death of a Salesman in which they play Miller’s careworn Willy Loman and his wife, Linda. Preparations for the play are going well until Rana and Emad suffer a disturbing domestic incident that triggers emotional fault lines across their marriage.

Exploring challenging questions of morality and retribution, The Salesman is a beautifully observed, painstakingly crafted drama that has received strong critical support around the world.

“In Farhadi’s universe, ambiguity reigns. What gives the film a searing emotional impact is the way it exposes the hidden flaws in its main character . . . ” Geoffrey Macnab, The Indepdendent ★★★★

“Farhadi has unparalleled gift for pacing, snaring us with well-timed reveals that subtly shift the story on its axis. While there may have been a political aspect to this second Oscar win – Farhadi chose to boycott the ceremony in response to the Trump administration’s travel ban – there is no question that this film deserved it. There is perhaps no director more adept at capturing the unfolding stories of ordinary people when the drama of their lives runs away with them.”Wendy Ide, The Observer ★★★★

SATURDAY, 14 OCTOBER – 7.30pm

LADY MACBETH

2016 | UK | Drama | Directed by William Oldroyd. Starring Florence Pugh, Cosmo Jarvis, Christopher Fairbank. 89 min. Rated 15.

To be clear, this isn’t Shakespeare’s Lady Macbeth. Also, it isn’t like any period drama you’ve seen, thanks to a talented trio of first-timers who tell one headstrong woman’s story in a unique way. Not to mention with a micro-budget of £350,000.

A thrilling 19th-century tragedy and one of the most exciting discoveries of last year’s London Film Festival, British director William Oldroyd’s exceptional debut stars the luminous Florence Pugh (The Falling) as a defiant, passionate young woman struggling against suffocating societal norms.

Adapted from Nikolai Leskov’s 1865 novella Lady Macbeth of Mtsensk District and transposed to rural Northumberland, it follows young bride Katherine (Pugh), trapped in a loveless marriage to a morose (and sexually inadequate) older man and browbeaten by her sadistic husband’s callous family. But when she embarks on a passionate affair, a new force is unleashed inside her, one so powerful that she will stop at nothing to get what she wants.

Oldroyd makes a seamless transition from theatre (he gained many admirers as the Director in Residence at London’s Young Vic) to filmmaking with this stark and sensual adaptation.

“As Katherine, Pugh has the vaulting ambition of Shakespeare’s character (a single line, “It is done”, pays homage to the great ancestor), also the Flaubertian yearning of the passionate woman subjected to the bourgeois tyranny of wifehood, as well as the modern noir obsession and criminal daring that begins to assume its own momentum.” – Peter Bradshaw, The Guardian ★★★★★

“One of the pleasures of William Oldroyd’s debut feature . . . is the way our sympathies are steadily confounded. Others [include] the outstanding performances, led by Florence Pugh in the title role: poised, bored and more wilful than she knows.” – Neville Hawcock, Financial Times ★★★★

THURSDAY, 26 OCTOBER – 7.30pm

AFTER THE STORM (Umi yori mo mada fukaku)

2016 | Japan | Drama | Directed by Hirokazu Kore-eda. Starring Hiroshi Abe, Yoko Maki, Taiyo Yoshizawa, Kirin Kiki. 117 min. Rated PG. In Japanese, with English subtitles.

This is the latest film from Japanese auteur Hirokazu Kore-eda – director of such acclaimed dramas as Like Father, Like Son and most recently Our Little Sister, both screened by the Hayle Film Club.

In After the Storm, Kore-eda delivers another tender, exploratory story about family, in which Ryota (Hiroshi Abe) is a former novelist now working for a private detective agency in a Tokyo surburb. He claims his spying on cheating couples is research for a new book, but instead he’s putting his wages towards the gambling addiction that disrupted his family with his former wife (Yôko Maki) and son (Taiyo Yoshizawa). Getting back in touch with his funny, spry mother Yoshiko (Kirin Kiki), he starts to think about possible reconciliations. Meanwhile the storm of the title, a powerful typhoon, is forging its own path towards the city.

By turns funny, melancholy and prescient, and told at a gentle pace, Kore-eda’s drama is wondrously photographed and performed and definitively humane, revealing moments of unanticipated beauty thrown into relief by everyday life.

No modern filmmaker has as sure a grasp on family dynamics as Hirokazu Kore-eda.” – Tom Huddleston, Time Out ★★★★

“Beautifully acted by a great cast (particularly Mr. Abe, who can make a sonata of frustration out of burrowing into a stale frozen treat with a spoon), After the Storm brings this intimate struggle to moving life. It’s a film that sticks with you.” – Glenn Kenny, A New York Times Critics’ Pick

SATURDAY, 11 NOVEMBER – 7.30pm

FRANTZ

2016 | France/Germany | Drama | Directed by François Ozon. Starring Pierre Niney, Paula Beer, Ernst Stotzner. 123 min. Rated 12. In German and French, with English subtitles.

Never one to play it safe, François Ozon (The New Girlfriend, 8 Women, Potiche) defies labels yet again with this striking adaptation, or rather reimagining, of one of Ernst Lubitsch’s (The Shop Around the Corner, Heaven Can Wait) lesser-known dramas, the 1932 Broken Lullaby.

Timed to be screened on Remembrance Day, Frantz takes place in 1919, in a small German town. A young woman called Anna (Paula Beer) regularly visits the grave of her fiancé, Frantz, who was killed in the trenches of World War I. One day she discovers the mysterious Adrien (Pierre Niney) laying flowers at the grave. Adrien claims to be Frantz’s friend from his student days before the war. Moved by Adrien’s connection to her lost love, Anna introduces him to her late fiancé’s parents. Initially resistant to Frantz as a Frenchman and therefore technically their enemy, they nevertheless come to embrace this charming young man.

The film’s inspired departure from the source material sees the focus and perspective shift from Adrien to Anna. It’s in the original and suspenseful Hitchcock-like second half that we find ourselves in distinctly Ozonian territory, exploring themes of alienation and grief, while the film confidently adds newcomer Beer to the long line of immensely talented women Ozon has directed.

“Ozon is often at his best when working with women, and he has a fabulous talent in Paula Beer to bring his protagonist, Anna, to vivid life. She’s stunning in the role . . .” – Nigel M. Smith, The Guardian ★★★★

“Sleek and somber . . .” – Stephen Holden, A New York Times Critics’ Pick

THURSDAY, 23 NOVEMBER – 7.30pm

MISS SLOANE

2016 | US | Drama-Thriller | Directed by John Madden. Starring Jessica Chastain, Mark Strong, Gugu Mbatha-Raw, Jack Lacy, Sam Waterston, Alison Pill, John Lithgow. 132 min. Rated 15.

Both a character study and a chilly satirical thriller about Washington – though these days reality feels like satire in D.C. – Miss Sloane follows a pill-popping, spike-heel-wearing Washington lobbyist called Elizabeth Sloane, played by a fiery Jessica Chastain, who pits herself against the gun lobby, for the sheer challenge of a battle no one thinks she can win. Her singular quality is ambition, and her only two human traits are reading John Grisham novels and sleeping with male escorts.

But Sloane shines compared to her surroundings, a rotten-to-the-core Washington, a town riddled with graspers and crooked politicians, and poisoned by its own greed.

To be honest, the screenplay, written by novice screenwriter Jonathan Perera, comes across as preposterous – but it’s also often fun in a grim, burn-everything-down kind of way. And sometimes, this is exactly what we need from cinema.

“Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.” – Anna Smith, Empire Online ★★★★

“The whole point of Chastain in Miss Sloane is to walk off with it, and she’s not messing around.” – Tim Robey, The Telegraph ★★★★