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).

NOTE: Films classified as F Rated (two 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 2019 Autumn Programme



2019 | UK | Comedy-Drama | Directed by Peter Merchant. Starring Florence Pugh, Lena Heady, Nick Frost, Dwayne Johnson. 108 min. Rated 12.

Don’t knock it ’til you’ve tried it! This is the remarkable true underdog story of a tight-knit Norwich wrestling clan, the Knights, and the sister and brother duo who get the once-in-a-lifetime opportunity to try out for the WWE (World Wrestling Entertainment Inc). Ultimately it is Saraya, later renamed Paige, who decides to dig deep, attend boot camp and finally prove to the world that what makes her different is the very thing that can make her a star.

Paige is played by a real-life rising star, Florence Pugh (Lady Macbeth, The Falling, The Little Drummer Girl), with Lena Heady (late of Game of Thrones) and Nick Frost (Danny in Hot Fuzz) as her parents.

This is a film with a lot of heart, one that will tickle your funny bone in all the right places, even as it represents hard-working people who pursue a dream and are tempted to give up on it for many reasons. It’s also a reminder of how the younger generation missed out in not being privy to the guilty pleasures of watching World of Sport on ITV.

“A hugely likable underdog tale, packing plenty of crowd-pleasing comedy wallop, and boasting a smack-down turn from the indomitable Florence Pugh.” – Mark Kermode, Observer ★★★★

Even though Fighting with My Family is undoubtedly about branding the WWE as a fantasy factory, its biggest strengths are its wit and surprisingly big heart, celebrating underdogs who rumble for what they love.” – RogerEbert.com, Sundance Film Festival ★★★★



2019 | UK-France-Serbia | Biopic-Drama | Directed by Ralph Fiennes. Starring Oleg Ivenko, Ralph Fiennes, Adèle Exarcholopoulos. 124 min. Rated 12. In English and Russian, with some subtitles.

The film’s title derives from the Russian phrase belaya vorona, or ‘white crow,’ meaning an outsider or nonconformist, an exceptional person who stands out but also doesn’t fit in.

With an elegant script by playwright David Hare, this is the story of the arrogant young Rudolf Nureyev, a lead dancer with Russia’s Kirov Ballet, whose life-changing visit to Paris, in 1961, made him seek asylum in France. Nureyev is brilliantly played by the young Ukrainian dancer Oleg Ivenko, and is supported by real-life ballet star Sergei Polunin, whose dancing scenes along with the rest of the cast have an authentic feel.

Ralph Fiennes, who has taken on other Russian projects in his career, both directs the film and plays Nureyev’s mentor, Alexander Pushkin. In paying homage to Russia’s greatest dancer, Fiennes is faithful to the country of origin by speaking in Russian.

As director, Fiennes keeps a tight focus on Nureyev, using poetic flashbacks to his childhood and building up to the tense sequence at Le Bourget airport outside of Paris when the dancer escaped his KGB bodyguards and hurled himself into the arms of the waiting French police. (Whether Nureyev may have been nudged towards defecting by other forces, perhaps a faction within the KGB trying to effect regime change, remains debatable.)

‘Sometimes it’s even a little bit clumsy, but its spirit is perfect,’ one of Nureyev’s French peers says about his dancing. Everything is relative, is it not?

“For all its biting observations about Soviet-era censorship and its reflections on the pain of exile, the film offers a romantic (and slightly hackneyed) view of the suffering, artistic Russian soul.” – Geoffrey McNab, The Independent ★★★★

“As a director, Ralph Fiennes shows the same alertness for telling details and rich characterization that he does as an actor.” – Peter Travers, Rolling Stone ★★★★



2019 | US | Comedy-Drama | Directed by Nisha Ganatra. Starring Emma Thompson, Mindy Kaling, Amy Ryan. 102 min. Rated 15.

Legendary talk-show host Katherine Newbury (Emma Thompson) is a pioneer in her field. She keeps her writers’ room on a short leash – and all male. But when her ratings plummet and she’s accused of being ‘a woman who hates women,’ Katherine puts gender equality on her to-do list and impulsively hires South-Asian-American Molly Patel (Mindy Kaling, who wrote the screenplay), a chemical plant efficiency expert, as the first and only female on her all-white writing staff.

This is an often hilarious, barbed adventure that allows Kaling to play up her woman-of-colour attributes that don’t conform to tired Hollywood stereotypes.

It’s also a comedy about comedy, which has spawned endless behind-the-scenes creations of that rarified world (think The Dick Van Dyke Show, My Favourite Year, 30 Rock etc).

And, it’s a tale of the complex working relationships of certain women from different generations – the best they can do is become ‘frenemies.’

A genuinely warm and witty film – never enough of them!

“Kaling is very good at conveying the paradoxical misty-eyed idealism of those working for this long-running TV institution. The love affair is, inevitably, with TV itself.” – Peter Bradshaw, The Guardian ★★★★

“Molly wears ‘adorkable’ very well and while her fan-girling wears thin on Thompson’s character, it has an easy charm.” – Laura Richards, Time Out ★★★



2017 | Israel-Switzerland-Germany-France | Drama | Directed by Samuel Maoz. Starring Lior Ashkenazi, Sarah Adler, Yonaton Shiray. 113 min. Rated 15. In Hebrew, with English subtitles.

Winner of the Silver Lion Grand Jury Prize at the Venice International Film Festival in 2017, the latest film from Samuel Maoz (director of 2009’s Lebanon) charts the story of a troubled family in Israel who are forced to confront difficult truths when they receive shocking news from their son’s desolate military post.

Maoz’s film is politically charged, in equal measures a fierce nightmare, absurd black farce and emotional knockout whose visionary boldness dares us not to look away. The film was hugely controversial in its native country, where it was derided as an ‘anti-Israel narrative’ by minister of culture Miri Regev (she hadn’t seen the film when she made the comment), amongst others. Regardless, Foxtrot was still Israel’s official 2018 Oscar entry for Best Foreign Language Film – and it swept the equivalent of Israel’s Academy Awards, winning eight prizes, including Best Picture.

Foxtrot plays out in three acts, forming a triptych of loss, waste and grief. The first act follows parents in Tel Aviv who receive devastating news from army officials; the second a remote desert checkpoint, where their son Jonathan lives with other soldiers. The third and last act lands us back in the city, showing us in more detail how collective hurt and anger can be passed down in the bloodline.

As for the film’s cryptic title, the foxtrot makes one move in a loop, ending at the point at which one started. For Maoz, this is the danse macabre that Israel cannot stop performing. ‘All the time we’re told we’re at war and this is part of the brainwashing, the instilling of trauma,’ he said in an interview. ‘But what is the war there? The soldiers don’t know, they just fight “the unknown.”‘

Urgent, unflinching, by turns heartwarming and savagely satirical, Foxtrot was widely considered one of the best films released in 2018.

“From the virtuoso opening scene – the surreal arrival of Israeli soldiers who can only be the bearers of bad news – every single sequence is thrillingly unexpected.” – Tara Brady, The Irish Times ★★★★★

“Brilliantly provocative . . . an Israeli film in which grief and political outrage come with a pinch of slapstick. Try to get your balance, it dares you.”  – Danny Leigh, Financial Times ★★★★



2019 | UK | Musical-Drama | Directed by Dexter Fletcher. Starring Taron Egerton, Richard Madden, Jamie Bell, Bryce Dallas Howard. 121 min. Rated 15.

A fever dream musical, exploring Elton John’s early years, from lonely young boy, born in drab Pinner, Middlesex, and piano prodigy to extravagant world superstar, Rocketman delivers an exuberant and flamboyant dramatic punch.

Framed through Elton’s scant recollections and musical songbook after a stint in rehab, the story includes his lifelong friendship with lyricist-collaborator Bernie Taupin (a superb Jamie Bell) and his erotic relationship with suave manager John Reid, played by Richard Madden (star of The Bodyguard; Robb Stark in Game of Thrones). Taron Egerton give an energetic lead performance, doing all his own singing and dancing.

This is an uplifting and devilish dip into the anachronistic and hedonistic world of a superstardom, on par but perhaps in some ways better than Bohemian Rhapsody, which had a directing credit by Bryan Singer, though it was Dexter Fletcher who rescued that project after Singer was fired midway through filming. Rocketman thus gives us a chance to see what Fletcher can do when given complete control over a pop musical, and the results are hugely charming, fizzy fun.

“There’s none of the coyness that won Bohemian Rhapsody a family-friendly PG-13 rating in the US. This is altogether more frank fare – and all the better for it.” – Mark Kermode, Observer ★★★★★

“Dexter Fletcher’s Elton John musical is a heart-racing, toe-tapping, all-glitter-cannons-blazing triumph on its own terms.” – Robbie Collin, The Telegraph ★★★★★

Egerton’s Elton is the hard-living road warrior and the preternaturally gifted ingénue, the sacrificial hero and the plucky survivor, the rock god and the camp icon. The actor delivers a tour de force of self-effacement, a bravura demonstration of borrowed charisma.” – A.O. Scott, The New York Times, A NYT Critic’s Pick



2018 | UK-US-Hungary | Drama-Biopic | Directed by Wash Westmoreland. Starring Keira Knightley, Dominic West, Denise Gough, Fiona Shaw, Eleanor Tomlinson. 111 min. Rated 15.

A radiant Keira Knightley (Atonement, Anna Karenina) gives a career-best performance in this exhilarating, entertaining and timely film about the life of groundbreaking French novelist Colette, best known for Gigi. Directed by Wash Westmoreland (co-director of Still Alice) and produced by Christine Vachon (producer of Todd Haynes’ Carol), the film premiered at Sundance 2018 to rave reviews highlighting its relevance in the #MeToo era of female empowerment.

In Belle Époque France, Colette’s marriage to Henry ‘Willy’ Gauthier-Villars (a juicy role for Dominic West) thrusts her from a simple country life in Burgundy to the raucous creative demi-monde of Paris. Swiftly developing her literary talents, Colette’s first novels are nonetheless published under her Svengali-like husband’s name. Willy, an author in his own right, basks in the glory bestowed upon the wildly popular ‘Claudine’ stories, actually penned by his wife.

Theirs is a complex marriage, depicted with intelligence and subtlety, as are Colette’s relationships with women – including American-in-Paris Georgie Raoul-Duval (Poldark‘s Eleanor Tomlinson) and cross-dressing noblewoman Mathilde de Morny, or Missy (Denise Gough), with whom Colette shared Paris’ first documented same-sex kiss on stage.

Whip-smart, precocious and unapologetic, not only is Colette shown to be a uniquely talented author (nominated in 1948 for the Nobel Prize in Literature), actor and journalist, but also a feminist trailblazer, fighting for the survival of her voice in a male-dominated world and shining a light for future generations of female artists.

“There’s lift and lightness to its best scenes, amid spirited homages to the era’s art, both in Colette’s deliciously vampish treading of the boards, and in some Sunday strolls through Parisian parks as only Seurat imagined them.” – Tim Robey, The Telegraph ★★★★

“Director Wash Westmoreland gives us a heroine as mighty as anything from Marvel, given vivid life by Knightley in the role of this fearless actor’s career.” – Danny Leigh, Financial Times ★★★★

“Colette’s life is deserving of nuance and care, and that’s what she gets in this film.” – Jordan Hoffman, The Guardian ★★★★