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 (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.

Our 2019 Winter-Spring Programme



2018 | US | Biography-Crime-Drama | Directed by Spike Lee. Starring John David Washington, Adam Driver, Laura Harrier, Alec Baldwin, Michael Buscemi. 135 min. Rated 15.

From visionary filmmaker Spike Lee comes the incredible true story of an unlikely American hero. It’s the early 1970s, and Ron Stallworth (John David Washington, son of Denzel) is the first African-American detective to serve in the Colorado Springs Police Department. Determined to make a name for himself, Stallworth bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan.

The young detective soon recruits a more seasoned (and Jewish) colleague, Flip Zimmerman (Adam Driver), into the undercover investigation of a lifetime. Together, they team up to take down the extremist hate group as the organization aims to sanitize its violent rhetoric to appeal to the mainstream.

Intercut with imaginative, almost whimsical tricks, the satire is nevertheless hard-hitting and frequently blisteringly funny, even as the depicted hate speech remains unquestionably jaw-dropping, doubling as a cautionary tale in this age of Trumpism.

And yes, for the more tender of ears, there is MUCH MUCH swearing in this film!!

“What’s most remarkable is how well Lee balances the tonal shifts, provoking both laughs and gasps with a film built upon dualities: fact and fiction (Stallworth’s story is heavily fictionalised, yet rings “true”); past and present; inside and outside . . . it’s great to see this admirably unruly film-maker back at the height of his provocative powers.” – Mark Kermode, The Guardian ★★★★

“Spike Lee knows how to direct films. BlacKkKlansman doesn’t miss a trick — for style, wit, timing, inventiveness — over two and a quarter hours of stranger-than-fiction storytelling . . . . A headlong, impudent fairy tale — life as we might like it to be in the world of bigotry shakedown — interspersed with correctional insertions of reality, jarringly effective.” – Nigel Andrews, Financial Times ★★★★


THE HEIRESSES (Las herederas)

2018 | Paraguay | Directed by Marcelo Martinessi. Starring Ana Brun, Margarita Irun, Ana Ivanova, Nilda Gonzalez, Maria Martins, Alicia Guerra. 98 min. Rated 12A. In Spanish and Guarani, with English subtitles.

Our first-ever film from Paraguay!

Chela (Ana Brun) and Chiquita (Margarita Irun) are both descended from wealthy families in Asunción and have been living together in a beautifully furnished house for over 30 years. Recently, their financial situation has worsened and they begin selling off their inherited possessions. But when their debts lead to Chiquita being imprisoned on fraud charges, Chela is forced to face a new reality.

Driving for the first time in years, Chela begins to provide a local taxi service to a group of elderly wealthy ladies. As Chela settles into her new life, she encounters the much younger Angy (Ana Ivanova), forging a fresh and invigorating new connection. Chela finally begins to break out of her shell and engage with the world, embarking on her own personal, intimate revolution.

As an aside, the leads Brun and Irun are highly regarded Paraguayan stage actress both making their film debut. Paraguay hasn’t had a particularly active or high-profile film industry up until now, but this admirable feature could be an indication that things are about to change.

NOTE: Our screening of The Heiresses is partially funded by the BFI Cinematheque scheme, which encourages audiences to explore more diverse and independent films.

“A superb first feature from Marcelo Martinessi, this entirely female-driven story is full of gentle wit and playful observations on the crumbling upper echelons of Paraguayan society. The acting throughout is strong, and Brun is terrific. It’s a performance of tragicomic genius that plays out in arched eyebrows and stabbing side-eye swipes at other women.” – Wendy Ide, The Guardian ★★★★

“Through stillness, the smallest arch of an eyebrow and shift of an eye, Brun brilliantly conveys the disorientation of a woman who has always relied on others to service her needs and whims.” – Maria Delgado, Sight & Sound Film of the Week


THE CAPTAIN (Der Hauptmann)

2017 | Germany-France-Poland | Drama-History | Directed by Robert Schwentke. Starring Max Hubacher, Milan Peschel, Frederick Lau, Waldemar Kobus, Alexander Fehling, Samuel Finzi. 118 min. Rated 15. In German, with English subtitles.

Based on a bizarre true story, Willi Herold (Max Hubacher), a German army deserter, stumbles across an abandoned Nazi captain’s uniform during the last, desperate weeks of the Third Reich.

Newly emboldened by the allure of a suit that he stole only to stay warm, Willi discovers that many Germans will follow the leader, whosoever that happens to be. A parade of fresh atrocities follow in the self-declared captain’s wake, and serve as a profound reminder of the consequences of social conformity and untrammeled political power.

Simultaneously a historical docudrama, a tar-black comedy, and a sociological treatise, The Captain presents fascism as a pathetic pyramid scheme, a system to be gamed by the most unscrupulous and hollow-souled.

NOTE: Our screening of The Captain is partially funded by the BFI Cinematheque scheme, which encourages audiences to explore more diverse and independent films.

The Captain compels our attention with a remorseless, gripping single-mindedness, presenting Naziism as a communicable disease that smothers conscience, paralyzes resistance and extinguishes all shreds of humanity.” – Jeanette Catsoulis, A New York Times Critics’ Pick

“A hypnotic, upsetting and often quite brilliant allegory of the corrosive nature of power in which a simple uniform transforms a deserting private into a mass-murdering monster.” – Phil de Semlyen, Time Out ★★★★



2017 | UK-US-Sweden | Drama | Directed by Björn Runge. Starring Glenn Close, Jonathan Pryce, Max Irons, Christian Slater, Harry Lloyd, Annie Starke. 100 min. Rated 15.

Glenn Close gives a truly masterful performance in award-winning Swedish filmmaker Björn Runge’s hugely enjoyable new drama, adapted from Meg Wolitzer’s 2003 novel, receiving great acclaim after premiering at the Toronto International Film Festival last year.

Close is Joan Castleman, an elegant woman who has spent 40 years sacrificing her own talent, dreams and ambitions to support her charismatic but self-centred husband Joe (Jonathan Pryce) and his high-profile literary career. Putting his solipsism and various infidelities down to his ‘art,’ Joan has dealt with his frequent bad behaviour with grace and humour. But the foundations of their marriage have been built upon a set of uneven compromises, and she has reached a turning point.

On the eve of Joe accepting the Nobel Prize for Literature, the crown jewel in a spectacular body of work, Joan recalls their past while confronting the biggest sacrifice of her life and the secret of his career. Poignant, funny and emotional, The Wife is a celebration of womanhood, self-discovery and liberation. Amidst the wider ensemble cast, Close remains the film’s extraordinary emotional centre, evincing power, intelligence and vulnerability as a woman questioning the choices she’s made.

“When it comes to portraying conflicting emotions, Close has always been in a class of her own, thanks to her kaleidoscopically expressive eyes and precise physical gestures. But rarely has her ability to tell two stories with a single look been more astutely employed than in this elegantly melancholy portrait of a marriage in crisis.” – Mark Kermode, The Observer ★★★★

“Glenn Close is the living actor who has most often been beaten to an Oscar: six times since 1982. With The Wife, she has her best shot since Dangerous Liaisons of laying this curse to rest. Close could feasibly miss the Oscar, but watching her lose again – for this, of all roles – will be a thespian psychodrama for the ages.” – Tim Robey, The Telegraph ★★★★

SATURDAY, 9 MARCH – 7.30pm


2018 | US | Biographical Drama | Directed by Damien Chazelle. Starring Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Patrick Fugit, Christopher Abbott, Ciaran Hinds, Lukas Haas. 141 min. Rated 12A.

Wunderkind Damien Chazelle’s third feature, following his brilliant musical love story La La Land – forever an asterisk in the annals of Oscar’s Best Picture runners-up – and his major directorial debut, the intense jazz drama Whiplash, is a biopic of Neil Armstrong, the first man to walk on the moon. The riveting story behind the first manned moon mission focuses on Armstrong, played by Ryan Gosling, and the decade leading up to the historic Apollo 11 flight in July 1969.

Told from Armstrong’s perspective, this visceral and intimate film explores the triumphs and the cost – on Armstrong, his family, particularly his wife, Janet (Claire Foy), his colleagues and the nation itself – of one of the most dangerous missions in history.

Much was made in the U.S. of the film’s omission of Armstrong planting the American flag on the moon, with some politicians (guess who?) calling the film and Gosling ‘unpatriotic,’ unaware that Gosling is Canadian. Chazelle has defended the decision, saying that he wanted to focus on the “unfamous” moments of the event, “to share with audiences the unseen, unknown aspects of America’s mission to the moon — particularly Neil Armstrong’s personal saga and what he may have been thinking and feeling during those famous few hours.”

First Man is all about understated heroism. It’s affecting precisely because Armstrong (played with quiet intensity by Ryan Gosling) doesn’t feel the continual need to boast about his mission . . . The film aims for the higher ground at every opportunity and is all the more inspiring as a result.” – Geoffrey Macnab, The Independent ★★★★

“Ryan Gosling plays Neil Armstrong as a hero of relatively few words but Claire Foy provides the emotional heft (and the Oscar buzz) as the steadfast spouse of the lunar legend.” – Radio Times

“Chazelle tells Armstrong’s story with certainty and verve.” – Peter Bradshaw, The Guardian ★★★★

THURSDAY, 28 MARCH – 7.30pm

COLD WAR (Zimna wojna)

2018 | Poland | Drama-Romance | Directed by Pawel Pawlikowski. Starring Joanna Kulig, Tomasz Kot, Borys Szyc, Agata Kulesza, Cedric Kahn, Jeanne Balibar. 88 min. Rated 15. In Polish, French and German, with English subtitles.

Cold War won Paweł Pawlikowski the Best Director award at Cannes in 2018. He follows his Oscar-winning Ida — one of the most popular films screened by Hayle Film Club — with this stunning epic romance set against the backdrop of Europe after World War II. Sumptuously shot in luminous black and white, it spans decades and nations to tell a love story that is as tragic as it is moving, and as transportive as it is honest.

In the ruins of post-war Poland, Wiktor (Tomasz Kot) and Zula (Joanna Kulig) fall deeply, obsessively and destructively in love. As performing musicians forced to play into the Soviet propaganda machine, they dream of escaping to the creative freedom of the West. But one day, as they spot their chance to make a break for Paris, both make a split decision that will mark their lives forever. As the years march on in the wake of that moment, Wiktor and Zula watch the world changing around them, always struggling to find their moment in time.

NOTE: Our screening of Cold War is partially funded by the BFI Cinematheque scheme, which encourages audiences to explore more diverse and independent films.

“Kulig is a revelation, channelling the cool of Monica Vitti, the vivaciousness of young Brigitte Bardot and the introspective power of Liv Ullmann . . . The crisp monochrome by Ida cinematographer Lukasz Zal only adds to an utterly entrancing experience.” – Radio Times

“A glorious throwback – a film made with a verve and lyricism which rekindles memories of the glory days of European New Wave cinema.” – Geoffrey Macnab, The Independent ★★★★

“A swooning, searing Polish-British-French co-production that unexpectedly put me in mind of Casablanca or La La Land as reimagined by Andrzej Wajda or Agnieszka Holland – a reminder of the fundamental things that apply, as time goes by.” – Mark Kermode, Observer ★★★★★

SATURDAY, 13 APRIL – 7.30pm


2018 | UK-US | Crime-Drama-Thriller | Directed by Steve McQueen. Starring Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Carrie Coon, Liam Neeson, Jon Bernthal, Colin Farrell, Robert Duvall. 129 min. Rated 15.

After Hunger, Shame and 12 Years A Slave, who would’ve thought that Turner Prize-winning-artist-turned-film director Steve McQueen would set his sights on a crime heist film?

He’s clearly not an obvious candidate on paper to create this story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. And yet this is a cleverly written, beautifully photographed crossover film — an art-pop hybrid.

Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Viola Davis), Alice (Elizabeth Debicki), Linda (Michelle Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Their story is co-scripted by Gillian Flynn, author of the sensational revenge novel Gone Girl, later adapted by Flynn into the screenplay. Flynn as co-screenwriter makes perfect sense for this woman-powered film, contributing to its American snap and swagger, with crisp, diamond-hard dialogue.

We don’t often have opportunities to screen well-crafted thrillers, so don’t miss this one!

“A perfectly proportioned, whip-smart heist thriller.” – Sight and Sound

“It could have been a trendy treatise on female empowerment, plonked by a killjoy message-monger atop a thriller tale, to crush the life from it. Instead the film is all life. McQueen has a vivifying idea in every scene . . . a magnificent, glossy American heist movie that overlaps the art crowd altogether.” – Nigel Andrews, Financial Times ★★★★★

“At a time when the snooty term ‘elevated genre’ has become all too prevalent in critical discourse, McQueen doesn’t strain to elevate or embellish the stone-cold thriller he has to work with; rather, he lets it play at a straightforward human level, showing up the plasticised artifice of the multiplex entertainments it’s being programmed against.” – Guy Lodge, The Guardian ★★★★

THURSDAY, 25 APRIL – 7.30pm

SHOPLIFTERS (Manbiki kazoku)

2018 | Japan | Drama | Directed by Kore-eda Hirozaku. Starring Lily Franky, Sakura Ando, Mayu Matsuoka, Jyo Kairi, Miyu Sasaki, Sosuke Ikematsu. 121 min. Rated 15. In Japanese, with English subtitles.

Winner of the 2018 Palme d’Or at Cannes, Hirokazu Kore-eda’s (Like Father, Like Son, Our Little Sister, After the Storm) latest film is a complex, profoundly moving drama about the forces holding a struggling family together.

Osamu (Lily Franky), his wife Nobuyu (Sakura Andô) and grandma Hatsue (played by veteran Japanese character actress Kirin Kiki) head the Shibatas, a poverty-stricken family living in a ramshackle Tokyo bungalow who routinely turn to petty thieving to make ends meet. After one of their shoplifting sessions, Osamu and son Shota (Kairi Jyo) happen upon Yuri (Miyu Sasaki), a little girl sheltering from the cold, and take her in. Despite the continued hardships of their existence, this newly modified family lives happily – until an unforeseen incident begins to test their bond.

By shining the spotlight on an unconventional domestic unit with insight, compassion and humour, Kore-eda gives rare prominence to Japanese society’s urban underclass and questions the possibilities of survival on the margins. An incredibly satisfying film made up of delicate brushstrokes, Shoplifters charms while eschewing overt sentimentality and is full of the director’s trademark subtlety and nuanced moral inquiry.

“If Shoplifters asks huge questions about what a family is and is not, the answers are hinted at in fleeting gestures — the hallmark of this beautiful, ambiguous film.” – Nigel Andrews, Financial Times ★★★★★

“An eerily moving piece, masterfully blurring the divide between the unforgivable and understandable, finding tenderness in the bleakest and most traumatic of circumstances.”  – Mark Kermode, Observer ★★★★