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 Summer Programme

NOTE: Films classified as F Rated (five 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, 12 MAY – 7.30pm


2017 | Italy/France/US | Drama-Romance | Directed by Luca Guadagnino. Starring Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel. 132 min. Rated 15.

It’s 1983, no one is staring into a smartphone, and Elio Perlman (Timothée Chalamet), a precocious, coltish 17-year-old Italian-American, is spending the summer in his family’s villa in northern Italy. Elio enjoys a close relationship with his professor father (Michael Stuhlbarg) and his translator mother Annella (Amira Casar). Adult in some respects, there is much that yet remains innocent and unformed about him, particularly about matters of the heart.

One day, Oliver (Armie Hammer), a handsome 24-year-old American doctoral student, arrives as the annual summer intern tasked with helping Elio’s father. Amid the sun-drenched splendor of the setting, in the drift of long summer days, where everyone seems to move in slow motion at the villa, a romance eventually blossoms between the directionless Elio and Oliver. Delicacy and a depth of emotion transform beauty into feeling, and Elio’s desire finds its purpose.

Call Me By Your Name garnered almost 200 award nominations, many for Chalamet as Best Actor in a Leading Role. James Ivory (of Merchant Ivory productions) won both the Oscar and Bafta for Best Adapted Screenplay.

“Saturated with poetic languor and a deeply sophisticated sensuality . . . there is such tenderness to this film.” Peter Bradshaw, The Guardian ★★★★★

“You don’t just watch Luca Guadagnino’s movies, you swoon into them . . . Call Me by Your Name is another ravishment of the senses, though this time there’s a strong narrative tethering all the churning feelings and sensuous surfaces.” – Manohla Dargis, The New York Times, A NYT Critic’s Pick

THURSDAY, 24 MAY – 7.30pm


2017 | UK | Drama-Mystery-Thriller | Directed by Clio Barnard. Starring Ruth Wilson, Mark Stanley, Sean Bean. 90 min. Rated 15.

The third British social-realist film from Clio Barnard (following The Arbor and The Selfish Giant), Dark River is loosely based on Rose Tremain’s 2010 novel Trespass.

A superbly acted drama about rural life in North Yorkshire, Dark River follows itinerant sheep-shearer Alice, who, upon following the death of her father, returns to the family farm for the first time in 15 years, intending to claim tenancy, though still haunted by the terrible secrets of her family’s past.

Alice’s brother Joe, who had been looking after their father, has let the farm go to rack and ruin. But he isn’t about to let the farm go without a fight, and sibling resentment rises to the surface, made worse by his penchant for violent drunkenness.

The ghosts of Alice’s past, told in disturbing flashbacks (Sean Bean plays the siblings’ father), and the struggles with her brother as she valiantly tries to reorganise the farm, in the generally lashing rain (this is Yorkshire, after all), make for dark drama. But the performances, particularly Ruth Wilson as Alice, and the photography of the rain-soaked moors, are acute and sensitive, qualities that director Barnard has become known for.

Also of note is the fact that Barnard wrote the film with a grant from the British biomedical charity The Wellcome Trust, awarded annually to screenwriters bridging ideas of arts and science. Though not academic in detail or outlook, Dark River grew persuasively out of psychiatric research into traumatic memory.

As with Lady Macbeth last year, Hayle Film Club is proud to support smaller, quality British films that received little or no exposure in local cinemas.

“This is a powerful film with a grinding intensity about it. Light relief it isn’t but Dark River still has quite an impact.” – Geoffrey Macnab, The Independent ★★★★

“Ultimately, this is Wilson’s film and she owns it with a performance rich in psychological subtlety that simultaneously projects ferocity and vulnerability.” – The Hollywood Reporter

“A beautifully acted film that gets under your fingernails.” – Patrick Smith, The Telegraph ★★★

SATURDAY, 9 JUNE – 7.30pm


2017 | UK/US | Crime-Drama | Directed by Martin McDonagh. Starring Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Peter Dinklage, Abbie Cornish, Lucas Hedges. 115 min. Rated 15.

British-Irish playwright-turned-filmmaker Martin McDonagh (In Bruges) has taken his storytelling skills and stock-in-trade – violence and black humour – across the pond, to a fictional town in Missouri, where tragedy and dark comedy restlessly shift.

Frances McDormand won her second Oscar for playing Mildred Hayes, who in order to stop herself drowning in grief after the brutal murder of her daughter, wages war against the local police department when the case remains unsolved. She rents three billboards and plasters them with details of the crime and the question, “How come, Chief Willoughby?” (McDorman reportedly based her character on John Wayne.)

Chief Willoughby is beautifully played by Woody Harrelson, but it’s Sam Rockwell who won the Oscar for Best Supporting Actor, as imbecilic Officer Dixon, who becomes the focus of Mildred’s rage.

An unblinking depiction of (largely) white working-class America, Three Billboards is a potent mix of violence, black comedy and much, much swearing (sensitive ears have been warned!).

Watching it is like having your funny bone struck repeatedly, expertly and very much too hard by a karate super-black-belt capable of bringing a rhino to its knees with a single punch behind the ear.” – Peter Bradshaw, The Guardian ★★★★

“The film stings. It’s supposed to. But McDonagh lets no-one, least of all his audience, off the hook.” – Robbie Collin, The Telegraph ★★★★★

THURSDAY, 28 JUNE – 7.30pm


2017 | UK/France/Germany | Drama | Directed by Rungano Nyoni. Starring Maggie Mulubwa, Benfors ‘Wee Do, Boyd Banda, Kalundu Banda, Janet Chaile, Martha Chig’Ambo. 93 min. Rated 12. (In English and Nyanja, with English subtitles.)

When 8-year-old Shula turns up alone and unannounced in a rural Zambian village, the locals are suspicious. A minor incident escalates into a full-blown witch trial, where she is found guilty and sentenced to life in a state-run witch camp (which doubles as a tourist attraction). Tethered to a long white ribbon, she’s told that if she ever tries to run away, she will be transformed into a goat.

As the days pass, Shula begins to settle into her new community, but a threat looms on the horizon. Soon she is forced to make a difficult decision – whether to resign herself to life in the camp, or take a risk for freedom. All the while the hint of absurdist tragicomedy leaves the audience wondering whether to laugh or cry.

Zambian-Welsh director Rungano Nyoni visited witch camps in Ghana and Zambia, which are mostly populated by older women, who work the land and do everyday activities. The philosophy and sexism behind these camps drove the 35-year-old to make her debut film about these enclaves, to point out the absurdity of these misogynistic practices.

Definitely one of Hayle Film Club’s most unusual titles to date!

“An extravagant flight of fancy that functions equally well as an anthropological curiosity, engrossing drama, feminist allegory, tart political satire and dire warning against xenophobia.” – Tara Brady, The Irish Times ★★★★

“Bewilderingly strange yet terrifically sure-footed . . . this daringly satirical parable of magic and misogyny, superstition and social strictures confirms Nyoni’s promise as a filmmaker of fiercely independent vision, with a bright future ahead.” – Mark Kermode, The Observer ★★★★

“Behind the droll satire is a sombre denunciation of the superstition, ignorance and prejudice that enables the corrupt elite in so many – African countries to intimidate the lower classes and oppress women. Drawing on her observations in a Ghanaian witch camp, Nyoni opts for an elliptical approach that occasionally confuses, but Mulubwa’s exceptional impassivity and David Gallego’s unsettlingly striking imagery help keep this focused and fascinating.”  – Radio Times

SATURDAY, 14 JULY – 7.30pm (preceded by our AGM at 7.15pm)


2017 | US | Comedy-Drama | Directed by Greta Gerwig. Starring Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothée Chalamet, Lois Smith, Beanie Feldstein. 94 min. Rated 15.

Greta Gerwig, darling of indie cinema, makes her directorial debut with Lady Bird, a semi-autobiographical tale of a high-school senior who can’t wait to escape from stifling, boring, Sacramento, California. It’s also a story about the inner lives of girls and women, of daughters and mothers.

The wonderful Saoirse Ronan, luminous as Irish immigrant Eilis in Brooklyn, is pitch-perfect as Christine MacPherson, who has rechristened herself as ‘Lady Bird,’ much to her hard-working mother’s annoyance. Lady Bird longs for adventure, sophistication, and opportunity, but finds none of that in her Catholic high school. Irritated by her parents, who are struggling to remain in the middle class – her father has been laid off, her mother works double shifts as a psychiatric nurse – Lady Bird is also busy with coming-of-age milestones in her senior year, including a first romance, a part in the school play, the betrayal of her most loyal friend for more popular rich friends, and more importantly, applying for college – preferably far away from Sacramento.

But the film’s emotional centre is between daughter and mother, and the scenes between Ronan and the brilliant Laurie Metcalf, who plays her mother, Marion, are priceless in their reflection of reality. Marion nags her daughter endlessly, but also expresses her own dreams of a better existence. The film has genuine sympathy for Marion without sacrificing its support for Lady Bird.

As an aside, Gerwig was nominated for a Best Director Oscar for this film – shamefully, only the fifth woman to be nominated in the Oscars’ 90-year history.

“A gloriously funny and wistfully autobiographical coming-of-age comedy.” – Peter Bradshaw, The Guardian ★★★★★

“Anchored by an expressive mother-daughter story in which unconditional love and enmity often seem one and the same, and elevated by an entrancing Saoirse Ronan (easily among the best and most intimate actors of her generation), Gerwig’s accomplished second directorial effort makes you wish she’d spend more time behind the camera.” – Tomris Laffly, TimeOut London ★★★★★

“Scripted by Gerwig with a deft balance of laudable wit and authentic angst, the film brilliantly depicts the adolescent tendency to rail against everything and anything, and it’s remarkable how heartfelt each and every moment feels, without the film once descending into sentimentality. Both that and Gerwig’s refusal to tie things up in a neat movie bow are a satisfying nod to its true-life origins. This is a loveable, colourful and largely convention-defying portrait of an endearing eccentric who, despite her protestations, holds her hometown dearer than she realises.”  – Radio Times

THURSDAY, 26 JULY – 7.30pm


2017 | France | Comedy-Drama | Directed by Blandine Lenoir. Starring Agnès Jaoui, Thibault de Montalembert, Pascale Arbillot, Lou Roy-Lecollinet, Sarah Suco. 89 min. Rated 15. (In French, with English subtitles.)

Late middle age: menopause, an empty nest, marital separation. Our heroine Aurore also loses her job – and to top it off, she learns she’ll soon be a grandmother. She suddenly realises that society is pushing her gently on a sideline.

But when she unexpectedly encounters her youthful love, Aurore decides to rebel by refusing the fate that seems to await her. What if a new life was about to be offered to her? What if she simply refuses to grow old?

We’re delighted to end our summer season with this enchanting, funny, low-budget comedy that has appealed everywhere to female movie-goers who have a fondness for quirky, feisty women d’un certain age. Though it might do middle-aged men a world of good to see it too!

“Blandine Lenoir’s lovely, intricate film also comes at the subject with a comical lilt . . . but it never loses its easy, digestible tone.” – Donald Clarke, The Irish Times ★★★★

“Frothy and fun, held together with considerable warmth by Jaoui, who treads a neat line between comedy and believability.” – Ed Potton, The Times ★★★