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).

NOTE: Films classified as F Rated (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 2018 Autumn Programme



2017 | UK/US | Romantic Drama | Directed by Paul Thomas Anderson. Starring Daniel Day-Lewis, Lesley Manville, Vicky Krieps. 130 min. Rated 15.

Nominated for six Oscars and three Baftas, this post-war gothic romance featuring an egotistical London couturier might not seem on paper like a perfect pattern for a screenplay. But Paul Thomas Anderson’s Phantom Thread, a tightly wound chamber drama that centres on love, loneliness and self-absorbed creative genius – not to mention obsession, fate and desire – has been deemed another masterpiece in the director’s filmography, which largely began with Boogie Nights back in 1997.

Most of Phantom Thread‘s action takes place in the Fitzrovia townhouse where Reynolds Woodcock (a brilliant Daniel Day-Lewis) lives and works with his sister Cyril (an equally brilliant Lesley Manville) and a succession of muses whom Woodcock casts away like faded scraps of fabric.

That is, until he meets his match in East European refugee Alma (the perfectly cast Vicky Krieps, a relatively unknown Luxembourger actress), who manages to find a way into Woodcock’s ‘sour heart.’ How Alma goes about this lends a unique bizarreness to an unforgettable tale, with many allusions to Hitchcock’s Rebecca, admist gorgeous frocks (multiple award wins for costume design) and a lush film score by Jonny Greenwood.

A complex, slow-burn melodrama, but not without humour, much of it arch, Phantom Thread deserves to be seen more than once.

Sadly, with this film Day-Lewis announced his retirement from acting.

“What kind of love story is Phantom Thread? The wrenching tale of a woman’s love for a man and a man’s love for his work. A dry, comic study of the asymmetries and conflicts at the heart of a marriage. A refined gothic nightmare in the manner of Henry James. A perverse psychological fable of unchecked ego and unhinged desire. That’s a partial catalog, and one that can’t quite capture how bizarre this movie is. Or how bizarrely true to life — to art, to love, to itself — it feels.” A.O. Scott, The New York Times (A NYT Critics’ Pick)

“I’ve seen Phantom Thread three times now, and each time I have been gripped ever tighter in its sublimely eerie and immaculately constructed web.” – ★★★★★ Mark Kermode, The Observer

“There is such pure delicious pleasure in this film, in its strangeness, its vehemence, its flourishes of absurdity, carried off with superb elegance.” – ★★★★★ Peter Bradshaw, The Guardian


LOVELESS (Nelyubov)

2017 | Russia | Drama | Directed by Andrei Zvyagintsev. Starring Mariana Spivak, Aleksei Rozin, Matvey Novikov. 127 min. Rated 15. In Russian, with English subtitles.

Andrey Zvyagintsev follows up Leviathan (2014), his powerhouse tale of corruption in contemporary Russia, with the equally masterful Loveless, winner of the 2017 Jury Prize at Cannes.

Both a hypnotic thriller and an impassioned drama of spiritual crisis, it centres on the disappearance of a young boy.

Zhenya (Maryana Spivak) and Boris (Aleksey Rozin) are going through a vicious divorce marked by resentment, frustration and bitter recrimination. Already embarking on new lives, they are impatient to start again, even if it means threatening to abandon their 12-year-old son Alyosha (Matvey Novikov) – when, after witnessing one of their fights, he disappears.

In this brilliantly bleak and mysterious drama Zvyagintsev investigates the microcosm of familial dysfunction against wider societal malaise; aligning the internal apocalypse of divorce with the metaphysical ills of modern Russia.

“As in Zvyagintsev’s earlier work – not least his bitter satirical epic Leviathan – this is is a small story seeded with vast significance.” – Robbie Collin, The Telegraph ★★★★★

“This is a film which confronts us with the most unthinkable of crises and perhaps also challenges the eternal piety and complacency of family life, that having children is a moral verity and duty which is somehow its own reward, which elevates by its very nature and goes beyond the requirement to show and to give love . . . [the film’s] brilliance and passion are compelling.” – Peter Bradshaw, The Guardian ★★★★★



2018 | UK | Romantic Drama | Directed by Mike Newell. Starring Lily James, Jessica Brown Findlay, Matthew Goode, Penelope Wilton, Tom Courtenay. 124 min. Rated 12A.

From Anna O’ Sullivan of the Financial Times:

“The title speaks volumes: we know we’re in for a hefty dose of whimsical charm, with added poetry and pretty scenery. And we are. The cruel history of the German occupation of Guernsey is the backdrop to this period romantic weepie, as writer Juliet Ashton (Lily James) gets involved with a local community still coping with the pain of war.

“Will there be dark secrets revealed? There will. A tug-of-love between slick Yankee fiance (Glen Powell) and hunky poetry-quoting pig farmer (Michiel Huisman)? Oh yes. Does Juliet do what we think she’ll do? You bet.

“There’s a classy cast; there are lots of flowers; everything is just as it should be. I didn’t know people made films like this anymore.”

“The style of the film remains relentlessly upbeat. Its cheerfulness is epitomised by Lily James’s bright and breezy Juliet, who keeps on smiling through even the most traumatic events. The result is a film that, while perfectly enjoyable on its own terms, becomes every bit as cosy, nostalgic and superficial as the title suggests it is going to be.” – Geoffrey Mcnab, The Independent ★★★

“Its story-within-a-story – the island’s Nazi occupation – brings a tug or two of gravity to the postwar romantic intrigue. It is a confection in every sense, but plump with natural sweetness.” – Robbie Collin, The Telegraph ★★★★


SPITFIRE + the short film Cornish Tommies

2018 | UK | Documentary | Directed by David Fairhead and Ant Palmer. Narrated by Charles Dance. 99 min. Rated PG. 

Hayle Film Club is proud to present this new documentary – the story of the Spitfire, credited with changing the course of world history, told personally in the words of the last-surviving combat veterans.

The film combines breathtaking aerial footage from the world’s top aviation photographer, John Dibbs, and rare, digitally re-mastered archival footage from the turbulent years of the 1940s, when Britain’s power in the skies, thanks to the Spitfire, was unrivalled.

A specially commissioned score by composer Chris Roe and an incredible soundscape of the famous Merlin engine, along with a narration by actor Charles Dance, make for a striking and poignant film.

NOTE: Spitfire will be preceded by the 12-minute short film Cornish Tommies. Directed by young Cornish graduates, it tells the story of an 18-year-old Cornish miner called up in 1917 who served in the trenches during the last year of the war and was severely injured. Evacuated to Blighty, the soldier was awarded the DCM (Distinguished Conduct Medal) and settled back in his village where he became a noted singer in the village choir.

Since cinema spits fire too — gobs of light and heat propelled from an image-vehicle called a projector — here is a perfect rhyme between subject and medium.” – Nigel Andrews, Financial Times ★★★★

“It does little to puncture the mythology surrounding the plane – we don’t hear from Luftwaffe pilots who faced it – but on the centenary of the RAF, Spitfire burnishes the legend a little bit more.” – Ian Freer, Time Out ★★★



2017 | UK | Drama | Directed by Dominic Cooke. Starring Saoirse Ronan, Billy Howle, Emily Watson, Anne-Marie Duff, Samuel West. 110 min. Rated 15.

Based on the novella by Ian McEwan, this is the story of Florence and Edward (Saoirse Ronan and Billy Howle), young university graduates getting married in 1962.

Florence is a talented and ambitious classical musician from a well-to-do family; Edward is a clever young man from humbler origins. Both have first-class degrees and, as a consequence, no small opinion of themselves.

But this is before the sexual revolution, when those born in pre-war Britain were still largely – yes, there were exceptions – repressed about sex and intimacy. As a result, the wedding night, punctuated by flashbacks into both characters’ lives, is a painful, intimately humiliating fiasco with devastating consequences.

A terrific cast – Ronan is always eminently convincing and watchable – go far to uplift what might’ve been merely a slight and sad period drama.

“What On Chesil Beach gets right is the sheer silly, tragic pointlessness of the virgin-wedding-night business and how disturbing sex was for a generation whose hypocritical elders had withheld information about it – a bizarrely sacrificial ceremony which probably had its last gasp with our own Lady Diana Spencer . . . The movie is a muted elegy to emotional waste.” – Peter Bradshaw, The Guardian ★★★

“A nuanced and very well-observed study of bad sex in which tiny accidents and misunderstandings threaten to scupper a marriage almost before it has started.” – Geoffrey Macnab, The Independent ★★★★



2017 | US | Drama, Western | Directed by Chloe Zhao. Starring Brady Jandreau, Tim Jandreau, Lily Jandreau, Cat Clifford. 104 min. Rated 15.

It always seems appropriate to screen an all-American film on the fourth Thursday of November, aka American Thanksgiving Day. And what is more American than a western?

The Rider, which had its UK cinema release in September, is the winner of the Grand Prix at the Deauville Festival of American Cinema and the Art Cinema Award in the Directors’ Fortnight of the 2017 Cannes Film Festival. 

This is the story of a young cowboy who, after suffering a near-fatal head injury, undertakes a search for new identity and what it means to be a man in the heartland of America.

Writer-director Chloe Zhao, born in Beijing and based in southern California, effectively tells the film’s fact-based tale with untrained actors. Brady Jandreau is the once-rising star of the rodeo circuit warned that his competition days are over after a tragic riding accident. Back home in the dusty plains of South Dakota, Brady finds himself wondering what he has to live for when he can no longer do what gives him a sense of purpose: to ride and compete.

Surrounding Brady and his family are Lakota Sioux of the Pine Ridge Reservation, giving The Rider a rich sense of the place, its landscapes and its longstanding culture of ‘cowboy Indians.’ The film crafts a portrait of lower-class working Americans without the slightest touch of condescension, giving a sure sense of what work means to these people. This is a deeply humanistic film, founded on a compassionate realism.

Our screening of The Rider is partially funded by the BFI Cinematheque scheme.

“If the movie glowed any more in its blend of human heartache and landscape lyricism — plus those horses — it could join the planets in the sky.” – Nigel Andrews, Financial Times ★★★★★

“The soul of The Rider resides in its people, proud members of the Lower Brule Sioux Tribe. Set against the stunning vistas of the American heartland, The Rider explores the physical and psychological impact on a modern cowboy who feels useless if he can’t do what he was born to do. Zhao’s film is as indelible as it is unmissable.” – Peter Travers, Rolling Stone ★★★★★

“The best American movie this critic has seen in the past year, Chloe Zhao’s The Rider is the kind of rare work that seems to attain greatness through an almost alchemical fusion of nominal opposites . . . the film’s style, its sense of light and landscape and mood, simultaneously give it the mesmerizing force of the most confident cinematic poetry.” – Godfrey Cheshire, RogerEbert.com ★★★★★