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.



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



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 ★★★★



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 ★★★★


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



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 Adrien 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



2016 | US | Comedy-Drama-Musical | Directed by Damien Chazelle. Starring Emma Stone, Ryan Gosling, Rosemarie DeWitt, J.K. Simmons. 128 min. Rated 12A.

It seems appropriate to screen an all-American film on this fourth Thursday of November, aka American Thanksgiving Day.

Despite its asterisked status as winner for just five minutes of the 2016 Best Picture Oscar, La La Land nevertheless DID win six other Oscars and five Baftas, including Best Actress for Emma Stone on both sides of the pond, plus a Best Director Oscar for wunderkind Damien (Whiplash) Chazelle, at the ripe old age of 32. All the awards were well-deserved, despite the inexplicable backlash against the film amid claims of marginalised artists, gender politics and the falsity of jazz fusion. Hogwash. Bittersweet instead of saccharine, snappy yet guardedly optimistic, La La Land mostly depicts, in a joyous way, the eternal tension between ambition and love.

Stone and Ryan Gosling give terrific performances in this beguiling romance, set in contemporary Hollywood. The tone is light and airy, the set design candy-coloured, and the story simple, but lent immense verve by the style of Chazelle’s direction and the chemistry and sheer charisma supplied by Stone and Gosling, who radiate charm, sincerity and emotional vulnerability as their characters open up to each other. Stone is wannabe movie star Mia, Gosling is aspiring jazz pianist Seb, and both are hobbled by frustrated ambition when they meet cute and fall in love. However, success – when it finally arrives – comes at a personal cost.

While it’s true Stone’s and Gosling’s singing and dancing won’t trouble Fred and Ginger’s legacy, it really isn’t supposed to. There’s a spontaneity, even casualness, to the way La La Land carries itself that feels both moving and genuine.

Rejecting cynicism in favour of open-hearted romance and full of smartly choreographed musical numbers performed with heartfelt grace by its stars, Chazelle’s musical has been called a contemporary Singin’ in the Rain. If you already saw it in the cinema, you may find it even lovelier on a second viewing.

PS: Apologies to those of you who’d hoped to see Miss Sloane in this screening slot.

“An unapologetically romantic homage to classic movie musicals, splashing its poster-paint energy and dream-chasing optimism on the screen.” – Peter Bradshaw, The Guardian ★★★★★

La La Land succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity. The artifice lies in the gorgeous colors, the suave camera movements and the elegant wide-screen compositions.” – A.O. Scott, The New York Times (A NYTimes Critics’ Pick)

“It’s not just any old musical, but the twirling, soaring kind that was last in style in the 1960s heyday of Jacques Demy, when Catherine Deneuve and Françoise Dorléac swished down sun-drenched boulevards in sorbet-coloured minidresses, trilling glistening jazz-pop numbers that imprint themselves on your heart in one go.” – Robbie Collin, The Telegraph ★★★★★