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 2018 Winter-Spring 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.



2017 | US | Romantic-Comedy-Drama | Directed by Michael Showalter. Starring Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Adeel Akhtar. 120 min. Rated 15.

US comedian and actor Kumail Nanjiani and writer Emily V. Gordon mine the history of their real-life courtship in this co-written, crowd-pleasing romantic comedy – directed by Michael Showalter and produced by Judd Apatow – which premiered to great acclaim at Sundance in 2017.

Starring Kumail as himself and Zoe Kazan as Emily in the early days of their careers, the film depicts Nanjiani’s Muslim parents (Anupam Kher and Zenobia Shroff) as very traditional, with the expectation that Kumail will marry a Pakistani girl or risk being exiled from the family. In fact, Kumail can’t get through a family dinner without a ‘nice Pakistani girl’ happening to drop by (the house is on a cul-de-sac).

Kumail keeps his relationship with Emily a secret, until she suddenly falls prey to a mysterious illness. He must take charge of the crisis with her bickering parents, Beth and Terry (played beautifully for laughs by Holly Hunter and Ray Romano), and support Emily on the road to recovery.

A joyful, emotive and ruefully hilarious story, The Big Sick is eloquent about racial anxieties but also on how such cultural concerns are no match for the universal ties and fears of love, health and family, while mining those difficulties for some truly memorable comedy.

“Don’t be put off by the title or premise; this is an offbeat, refreshing romcom that deftly defies Hollywood’s sickly predictabilities.” ★★★★ Sam Taylor, Financial Times



2017 | UK/Poland | Animated Biography | Directed by Dorota Kubiela, Hugh Welchman. With the voices of Chris O’Dowd, Saoirse Ronan, Douglas Booth, Helen McCrory, Josh Burdett, Robin Hodges. 94 min. Rated 12.

Oscar-winning British animator Hugh Welchman and his wife, Polish artist and director Dorota Kobiela, have brought together 65,000 oil-painted frames – produced by 115 professional artists and using over 3,000 litres of oil paint – to form Loving Vincent, a stunning cinematic achievement billed as ‘the first fully painted feature film in the world.’

On 29 July 1890 Vincent Van Gogh, bullet in his belly, stumbles along the drowsy high street of Auvers at twilight. The famously troubled artist’s death has traditionally been viewed as suicide. But Loving Vincent delves into the ambiguities of his life and last days to reconsider this narrative via the stories of his paintings and the people who inhabit them.

Footage originally performed by a mostly British cast forms the basis of frames that mimic Van Gogh’s singular Impressionist technique. Thick daubs of flickering, variegated colours play over each character’s face, revealing the depth and ambiguity of their shifting thoughts and emotions in a truly innovative way and enhancing our understanding of a canonical artist and his great interior anguish.

“A brilliant idea, skilfully achieved.” Nigel Andrews, Financial Times ★★★★

“The visual effect is overwhelming, a luxurious immersion in the palette and environment of a celebrated artist.” Tim Robey, The Telegraph ★★★



2017 | UK | Biographical Drama | Directed by Stephen Frears. Starring Judi Dench, Ali Fazal, Tim Pigott-Smith, Eddie Izzard, Adeel Akhtar, Michael Gambon, Olivia Williams. 111 min. Rated PG.

From the November issue of Sight & Sound:

“British cinema has had more Queen Victorias than any other character, owing to its habit of treating the monarch to makeovers reflecting prevailing cultural needs . . . . Now, in Stephen Frears’s playful drama, the tetchy elderly empress (Judi Dench) is remade as an early multiculturalist, revitalised by her unlikely late-life friendship with Indian footman Abdul Karim and his teachings on Indian culture.

“Frears and screenwriter Lee Hall engage in some mischievous Brexit-baiting in this energetic comedy of manners, infusing what could have been a piece of imperial nostalgia with a merciless critique of late-Victorian England’s snobbery and racism. Laced with sharp-eyed commentary on the royal household’s antipathy to Muslims (their horror at Abdul’s Koran and Urdu teaching equals their contempt for his race), it’s also something of a Trump tease.

“Experienced in unwrapping regal crises after The Queen (2006), Frears sets up Victoria’s surprisingly needy friendship with the amiable Abdul as a culture-clash comedy with a soft emotional centre. . . .

“Dench, whose shrewd, selfish, embattled Victoria runs the gamut from weary self-pity to steely determination, makes it a battle royal. Her bravura performance, much of it conducted with Frears’s camera fixed on her beady eyes, is the film’s raison d’etre. . . .”

“Cheerfully middlebrow, highly engaging and containing just enough cultural critique not to frighten the horses, Victoria & Abdul is a work of considerable charm, even if it’s perhaps less spiky than it imagines.” – Kate Stables, Sight & Sound

Victoria & Abdul is worth seeing for Dench’s magisterial performance and for Frears’s light but sure directorial touch. Just don’t mistake it for actual history.” – Christopher Orr, The Atlantic


IN BETWEEN (Bar Bahar)

2016 | Israel | Drama | Written and directed by Maysaloun Hamoud. Starring Mouna Hawa, Sana Jammelieh, Shaden Kanboura, Mahmoud Shalaby. 103 min. Rated 15. In Hebrew and Arabic, with English subtitles.

From Time Out London:

“Palestinian director Maysaloun Hamoud received a huge backlash in her home country with the release of her debut feature film: a fatwa was even issued against her. Why all the fuss? In Between is about three Israeli-Palestinian women living in a flat in Tel Aviv: party animals Layla and Salma, and the more traditional Nour. It features drugs, booze, a lot of partying and some lesbianism. Little wonder that it wasn’t a hit with the conservative Muslim community.

In Between is a great film. The performances are fantastic – as the gorgeous, headstrong Laila, Mouna Hawa is mesmerising. It’s not always uplifting but it is compassionate and intelligent. When the central characters tell douchebags to go take a hike, I defy anyone in the audience not to do a little whoop for these inspiring women. But the biggest cheer should go to the brilliant Hamoud for bringing this story to our screens.”

“A spiky treat, an empowering tale of three Palestinian women living in Tel Aviv, each fighting their own battles for independence and fulfilment.” – Mark Kermode, The Observer ★★★★

“A unique urban blend of hedonism and tradition, bound together by hummus and history.” – Leslie Felperin, The Guardian ★★★★

SATURDAY, 10 MARCH – 7.30pm


2017 | UK | Comedy-Drama-Satire | Directed by Armando Iannucci. Starring Steve Buscemi, Jeffrey Tambor, Michael Palin, Paddy Considine, Simon Russell Beale, Andrea Riseborough, Jason Isaacs, Rupert Friend. 106 min. Rated 15.

From Danny Leigh’s ★★★★★ review in the Financial Times:

“Lord knows, you take your laughter where you find it these days. All the same, few of us would expect that to be in the Kremlin of 1953, with the secret police out making their nightly tour of Moscow, banging on doors with the latest list of counter-revolutionaries. Yet here the stage is set for a gaspingly funny high-wire comedy, The Death of Stalin, a historical snapshot of that moment and events thereafter. The director is Armando Iannucci, whose grasp of political barbarism was honed making The Thick of It. Of course, the worst his bumbling ministers and foul-mouthed spin-doctors were capable of was some way short of this. . . .

“With a default tone of grand absurdity and violent dread, we soon encounter the old moustachioed thug himself, played here by Adrian McLoughlin. The boss kicks back with his henchmen — the parade of yes-men including wisecracking Nikita Khrushchev (Steve Buscemi), priggish deputy Georgy Malenkov (Jeffrey Tambor) and wide-eyed loyalist Vyacheslav Molotov (Michael Palin). In a film of several masterstrokes, the first is the portrait of the inner circle as a crew of buffoons, the second the actors using all kinds of accents — Buscemi’s Khrushchev given a New Jersey rasp, Palin’s Molotov politely Home Counties — rather than stock Ryuissian. . . .

“But the title is no tease. Soon the beloved General Secretary of the Communist Party of the Soviet Union is prone and unresponsive on the floor of his dacha. Like all the best comic minds, Iannucci has no fear of slapstick. But the laughter (which will be loud) comes most often from the gulf between the pomp of the circumstance and the sheer smallness of the men within it. The key is that the film never sniggers. Monsters are monsters even when they’re idiots. Most monstrous of all is the rat king of secret policemen Lavrentiy Beria (Simon Russell Beale), the kind of psychopath for whom vast power is simply good cover.

“An audacious comedy of horrors, the film has the feel of a bad dream you find yourself not wanting to wake up from. A scream, indeed.”

“The film is uproariously funny but painfully close to the bone in a world where once again the lunatics have taken over the asylum.” – Lisa Mullen, Sight & Sound

“Adapting the absurdist graphic novel by Fabien Bury and Thierry Robin, Iannucci and his writing team have run off with history and made a delicious mockery of it, not least by handing the roles of Stalin’s headless-chicken cronies to a multinational cast whose range of incongruous accents – American, British, in one case a riotous South Yorkshire – only add to the fun.” – Tim Robey, The Telegraph ★★★★

THURSDAY, 22 MARCH – 7.30pm


2017 | UK | Comedy-Drama | Written and directed by Sally Potter. Starring Patricia Clarkson, Kristin Scott Thomas, Bruno Ganz, Cherry Jones, Emily Mortimer, Cillian Murphy, Timothy Spall. 71 min. Rated 15.

Having premiered at the Berlinale to critical acclaim, British director and screenwriter Sally Potter’s (Orlando, Ginger & Rosa, Rage) eighth feature – a political comedy wrapped around a tragedy about a dinner party gone very wrong – features a spectacular cast.

Janet (Scott Thomas) has just been appointed Shadow Heath Secretary, the crowning achievement of her career, and decides to celebrate by hosting a few close friends. But as the guests arrive her husband Bill (Spall) makes a shocking announcement, leading to a cascade of explosive revelations and unravelling the soiree even before the canapés are served.

As people’s illusions about themselves and each other – whether romantic, political or existential – go up in smoke, a night that began with champagne ends with blood on the floor.

A savage satire of the middle-class, The Party explores the deeper truths behind seemingly liberal convictions with insight and a killer wit.

“A short, sharp, funny shock of a movie; a theatrical drawing-room comedy which plays out in real time with elegance and dispatch, cantering up to a cheeky punchline twist which leaves you laughing over the final credits.” – Peter Bradshaw, The Guardian ★★★★

SATURDAY, 14 APRIL – 7.30pm


2017 | UK | Biographical Drama| Directed by Paul McGuigan. Starring Jamie Bell, Annette Bening, Julie Walters, Vanessa Redgrave, Stephen Graham. 105 min. Rated 15.

From Matthew Taylor’s review in the December issue of Sight & Sound:

“Drawn from Peter Turner’s 1986 memoir, Paul McGuigan’s handsomely mounted film largely avoids the mundane pitfalls of the intimate celebrity biopic, making imaginative play with space and artifice to depict the brief but profound affair between 1950s actress Gloria Grahame (Annette Bening) and Turner (Jamie Bell), 30 years her junior. . . . Matt Greenhalgh’s deft screenplay mines compelling material, exploring the contrasting worlds the film’s lovers have come from and the one they latterly find themselves in together.

“Old Hollywood meets working-class Liverpool in the thick of Thatcherism – yet the unlikely couple first become acquainted in a boarding house in London’s Primrose Hill . . . one boogie to the Bee Gees later and a friendship has developed between Grahame and Turner, evenutally becoming a romance . . . .

“The affair begins to fray following a short-lived relocation to New York, when Grahame learns that the cancer she had beaten years before has returned, and is this time inoperable. The pair reconnect when the ailing Grahame, strenuously resisting medical treatment, opts to stay at the Turner family home, this third act being perhaps the film’s most conventional, though never maudlin, section.

“Bening is pitch-perfect as the singular star, expertly approximating her vocal inflections and forthright mannerisms. Bell is also terrific, his charged, sinuous performance lending Turner affecting shades of vulnerability and inner turmoil.”

Had the film simply been The Annette Bening Show, we’d certainly have coped. But she’s matched every step of the way by Bell, in a flat-out career-best performance achieved so naturally it’s a marvel.” – Tim Robey, The Telegraph ★★★★

“It’s a beguiling story and Bell and Bening are tremendous as the star-crossed lovers.” – Peter Bradshaw, The Guardian ★★★★

THURSDAY, 26 APRIL – 7.30pm


2017 | UK | Drama-Thriller | Directed by Sarmad Masud. Starring Suhaee Abro, Syed Tanveer Hussain, Salman Ahmed Khan, Ahsen Murad, Tayyab Ifzal. 92 min. Rated 15. In Urdu, with English subtitles.

My Pure Land has been selected as Britain’s submission for the best foreign-language film at the 2018 Oscars.

From Clarisse Loughrey’s review in The Independent:

“A modern-day feminist Western, My Pure Land tells an incredible true story. The film portrays the moment Pakistani woman Nazo Dharejo and her two daughters defended their land from the 200 heavily armed men that sought to claim it as a part of a familial feud; in their mind, the property would easily be taken with only women left to fight back. How wrong they were.

“In telling Dharejo’s story, the film alternates between the stand off itself, and the events which led up to it. Her strength and her resolve here become a tribute to all the women of Pakistan who have fought back against its oppressive, often violent patriarchal systems. 

“This marks British-Pakistani director Sam Masud’s debut; shot in a guerilla style in Pakistan itself, the film had its world premiere at last year’s Edinburgh Film Festival. Evoking the spirit of John Ford, My Pure Land is a tense, claustrophobic drama that offers a brand new spin on one of the most classic genres in film.”

“Lyrical, heart-poundingly tense and strikingly feminist.” – Ed Potton, The Times ★★★★

“A lean and stirring Western, just one set a long way from the West.” – Danny Leigh, Financial Times ★★★★