Hayle’s Community Cinema

The 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 £5 per year).

Our 2017 Winter-Spring Programme



2016 | New Zealand | Adventure-Comedy-Drama | Directed by Taika Watiti. Based on the book by Barry Crump. Starring Sam Neill, Julian Dennison, Rima Te Wiata. 101 min. Rated 12A.

A feel-good, crowd-pleasing treat for mid-winter. From Taika Waititi – director of cult vampire comedy What We Do In the Shadows – comes the hilarious yet poignant Hunt for the Wilderpeople, which screened to acclaim at Sundance and set box office records (for the highest-grossing first week and weekend) in Waititi’s native New Zealand.

Ricky Baker (Julian Dennison) is a defiant, trash-talking misfit sent by child services to start a new life in rural New Zealand with a foster family: aunt Bella, gruff uncle Hec (Sam Neill) and dog Tupac. But when events threaten his future, Ricky runs into the bush with Hec in pursuit. With the two of them missing, a national manhunt is begun – forcing Ricky and Hec to embark on a months-long trek, and to overcome their differences in order to get by.

Based on Barry Crump’s book Wild Pork and Watercress, and with charismatic, pitch-perfect performances from Dennison and Neill, it’s a visually inventive, pleasingly bittersweet and effortlessly funny film – full of Waititi’s distinctive comedy – that has had great word-of-mouth appeal from audiences across the UK.

“An off-kilter charmer . . . the film’s main asset is an unaffected naturalism, both in the filmmaking and in the unpolished characters that we root for.” – ★★★★ Wendy Ide, The Observer



2016 | Spain | Drama-Romance | Directed by Pedro Almodóvar. Starring Emma Suarez, Adriana Ugarte, Daniel Grao. 99 min. Rated 15. In Spanish, with English subtitles.

Julieta finds Spanish auteur Pedro Almodóvar (Talk to Her, All About My Mother, Volver) in austere, reflective mode. It’s based on three short stories by the Nobel Prize-winning writer Alice Munro that follow the same character.

In 2015, Julieta is a teacher of 55. She writes a long letter to her daughter Antía, explaining the secrets she has kept from her over the last 30 years. But when she finishes her confession, she doesn’t know where to post it, because they have been estranged since Antía left at the age of 18.

Starring Emma Suárez and Adriana Ugarte as the younger and older Julieta, this is an eloquent and richly resonant film, with Almodóvar eschewing the energetic farce of his last release – I’m So Excited – in favour of a return to his great subject; the emotional terrain and interior lives of women.

“A sumptuous and heartbreaking study of the viral nature of guilt, the mystery of memory and the often unendurable power of love.” –  ★★★★★ Mark Kermode, The Observer



1954 | US | Musical-Drama | Directed by Otto Preminger. Starring Harry Belafonte, Dorothy Dandridge, Pearl Bailey, Brock Peters, Diahann Carroll. 95 min. Rated U.

Inspired by the BFI’s recent Black Star season, a celebration of the range, versatility and power of black actors on film and TV, Hayle Film Club is proud to present the sizzling screen version of Bizet’s opera Carmen, with an all-black cast, originally released over 60 years ago and rarely seen in the UK.

The original Carmen, which premiered in 1875, was set in Spain and tells the story of a gypsy woman who works in a cigarette factory. She falls for a soldier, but eventually transfers her affections to a bullfighter with tragic results. In 1943, Oscar Hammerstein II adapted the opera as a Broadway musical. Setting it in the contemporary American South, it ran for over 500 performances. For his 1954 film version of the show, Otto Preminger gives it a wartime setting, with the heroine Carmen a worker in a parachute factory and her lover Joe, a soldier; the toreador is changed into a professional boxer.

The cast is led by Dorothy Dandridge, whose vibrant performance resulted in the first Oscar nomination for a black actress. She stars in the title role as the passionate sexy creature who lures handsome GI Joe (Harry Belafonte) away from his sweetheart Cindy Lou (Olga James). Following a brawl with his sergeant, Joe deserts his regiment with the sultry femme fatale. Carmen soon tires of him and takes up with a heavyweight prize-fighter (Joe Adams), triggering Joe’s tragic revenge. Helping to set the screen on fire are Pearl Bailey, who sings the dynamic ‘Beat Out That Rhythm on a Drum,’ and Diahann Carroll. Other popular songs include ‘You Talk Just Like My Ma’ and ‘That’s Love.’

Though not the first Hollywood film to feature an all-black cast, Preminger was rigorous in his casting; even in the Chicago street scenes the only faces visible seem to be black. It was a risky and daring move in the 1950s, but by this stage in his career Preminger had become an independent producer, and welcomed the opportunity to make unusual or controversial films.

While today’s critics differ on the film’s strengths and weaknesses, Carmen Jones is a piece of cinematic history and deserves to be seen by a modern audience.



2016 | UK | Drama | Directed by Ken Loach. Starring Dave Johns, Hayley Squires, Sharon Percy. 90 min. Rated 15.

The triumphant winner of last year’s Cannes Palme d’Or, Ken Loach’s fierce, emphatic drama I, Daniel Blake is purportedly his last film. It’s pure Loach, with a script by his regular screenwriter Paul Laverty, and follows the Daniel Blake (Dave Johns) of the title, a 50-something carpenter living in Newcastle who, after suffering a heart attack, seeks to claim state benefits.

Told by his NHS consultant that he’s unfit for work, he applies for disability benefit. However, after a ‘healthcare professional’ appointed by the Department for Work and Pensions interviews him over the phone for just 10 minutes, it’s decided that Daniel is ineligible.

Humiliatingly labelled a scrounger when he is anything but, Daniel is forced to apply instead for jobseeker’s allowance and comes up against further absurdities of the welfare state. Meanwhile, he befriends Katie (Hayley Squires) – a single mother to two children, and new to Newcastle – who’s also suffering on the breadline.

Overwhelmingly moving, I, Daniel Blake is a stark reminder of the profound injustices of life in contemporary Britain and the brutal inhumanity of the system, making it painfully clear that issues so often invoked theoretically in the media in fact result in real human suffering, which exists in plain sight.

“Dickens wrote in Bleak House that ‘what the poor are to the poor is little known, excepting to themselves and God.’ This film intervenes in the messy, ugly world of poverty with the secular intention of making us see that it really is happening, and in a prosperous nation, too. I, Daniel Blake is a movie with a fierce, simple dignity of its own.” ★★★★ Peter Bradshaw, The Guardian

“This, the film that brought Loach out of his ‘retirement,’ is a return to the form of his best work, and a desperately important expose of an unfair system. It resists commentary as much as it does cliche, fading to black intermittently to allow reflection instead. I, Daniel Blake, like its hero, demands to be seen.” – Pamela Hutchinson, Sight & Sound

SATURDAY, 11 MARCH – 7.30pm


2016 | US | Biographical-Drama | Directed by Mira Nair. Starring David Oyelowo, Madina Nalwanga, Lupita Nyong’o, Martin Kabanza. 124 min. Rated PG.

The story of a young female chess prodigy from the slums of Uganda, Queen of Katwe is an above-average feel-good biopic, with a message that’s not only inspirational but genuine. It helps to have director Mira Nair’s clear love for her country guiding every decision but also the amazing depth of David Oyelowo and Lupita Nyong’o to ground it from most of its sentimental clichés. This is quite aside from the nuanced, subtle performance by newcomer Madina Nalwanga, who plays the 10-year-old Phiona Mutesi, from the slum of Katwe in Kampala. She has almost no possessions, can’t read and sells maize in the street to try to scrape together change for her family, which includes two brothers, a sister, and her headstrong mother Harriet (Nyong’o).

Phiona and her oldest brother Brian (Martin Kabanza) cross paths with a local sports ministry head called Robert Katende (Oyelowo). Recognizing that the slum kids he’s working with aren’t going to compete at football, he decides to teach them something he mastered at a young age, the art of chess. It’s a game that equalizes issues of class, education and income. It can be played by anyone in the world, and Katende sees that Phiona has a special gift, especially when she starts beating him. Soon Phiona is playing in international tournaments, beating other children from privileged backgrounds.

Nair and her technical team capture the streets of Uganda in a way we haven’t really seen before, certainly not in a Disney film (Nair has joked that Queen of Katwe was the first Disney film set in Africa that doesn’t have a single animal in it). A wonderful story to banish the ides of March!

“However many changes Nair’s team has made to ensure the film’s potency as a crowdpleaser, the most important one was an addition they didn’t make: for there to be an almost total absence of white faces in the cast of a worldwide Disney release remains highly unusual, and possibly unprecedented.” – Jason Anderson, Sight & Sound

“The earnestness and the exuberance is executed with a conviction that makes Queen of Katwe that rare thing: a kids hobby movie where something really is at stake.” – ★★★★ Catherine Shoard, The Guardian

THURSDAY, 23 MARCH – 7.30pm


2016 | US | Drama-Thriller | Directed by Tom Ford. Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Laura Linney, Andrea Riseborough. 116 min. Rated 15.

Tom Ford’s second outing as a filmmaker since A Single Man (2009) is based on Austin Wright’s 1993 novel Tony & Susan. As in the book, Nocturnal Animals has a dual narrative structure in which two stories are crosscut for the bulk of the running time, with roughly equal screen time allotted to each.

Amy Adams plays an art gallery owner, mired in culture-vulture decadence, who is haunted by her ex-husband’s (Jake Gyllenhaal) yet-to-be-published novel, a violent thriller she interprets as a veiled threat and a symbolic revenge tale.

Flashbacks fill in the gaps of Tony and Susan’s relationship, making the connections between the dissolution of their relationship and the book-within-the-film’s tale of abduction, loss and revenge. This is a harsh cautionary tale about love, vengeance and the divide between life and art, that shadowy space in which real people are turned into fictional characters and old hurts made into narrative grist. 

Nocturnal Animals delivers a double shot of horror and Nabokovian despair: it’s excessive, outrageous, a story within a story about the super-rich and super-poor . . . magnifying its cruelties and ironies, and bringing to it a sheen of hardcore porn and pure provocation . . . . There is an unwholesome kind of toxic deliciousness in this film: a vodka kick of pure malice.” – ★★★★★ Peter Bradshaw, The Guardian

“There are moments of low-key pleasure in this fun house, especially in the scenes of Susan’s world, an absurd, at times amusing cartoon filled with lavish excesses, baroque shocks and exotic creatures who are as unreal as aliens or the boldfaced names in a Vogue layout.” – Manohla Dargis, The New York Times

SATURDAY, 8 APRIL – 7.30pm


2016 | UK/US | Biographical-Drama | Directed by Amma Asante. Starring David Oyelowo, Rosamund Pike, Jack Davenport, Tom Felton. 111 min. Rated 12A.

The newest film from British filmmaker Amma Asante (director of the acclaimed Belle and A Way of Life) opened last autumn’s BFI London Film Festival, and, similarly to Belle, it portrays an interracial relationship (though romantic rather than familial) that challenged the social mores of its time.

In 1947, King of Bechuanaland (modern-day Botswana) Seretse Khama (David Oyelowo) falls in love with London office worker Ruth Williams (Rosamund Pike). Their controversial union generates fierce opposition not just from their families, but also the British and South African governments. But Seretse and Ruth defy family, apartheid and Empire to stay together, while working to transform one of Africa’s poorest countries into one of the most prosperous. 

A United Kingdom capitalises on the intersect between a particular story and its universal affect – via the simple fact that racial barriers are no match for profound love or intimacy – while exploring a complex and painful chapter in Britain’s social history.

“Handsomely shot on locations in the UK and Botswana by Sam McCurdy, A United Kingdom contrasts sweeping exteriors with fusty interiors, breathing rich visual life into the battle between an entrenched establishment and an emerging republic. Production designer Simon Bowles and composer Patrick Doyle clearly relish the broad canvas opportunities of the narrative, while Asante cites Richard Attenborough and David Lean as her guiding lights.” – ★★★★ Mark Kermode, The Observer

“Stirring, heartstring-strumming stuff – a chapter of history that rewards a close reading.” – Robbie Collin, The Telegraph

“Asante’s take on the genre still offers a few subtle twists. In many ways, Her feminine perspective is the most interesting thing about the film: she gives voice to otherwise secondary female characters, highlights the everyday office sexism experienced by Ruth, and casts her male lead as the tearier, more sensitive partner in their marriage.” – Simran Hans, Sight & Sound

THURSDAY, 27 APRIL – 7.30pm


2016 | Germany | Comedy-Drama | Directed by Maren Ade. Starring Sandra Hüller, Peter Simonischek, Michael Wittenborn, Thomas Loibl, Trystan Pütter. 162 min. Rated 15. In German, English and Romanian, with English subtitles.

German filmmaker Maren Ade’s (Everyone Else) astonishing Toni Erdmann was hailed as one of the standout films of Cannes 2016, where it premiered in Competition (the first German film to debut there in 10 years) and won the FIPRESCI Best Film award.

It’s a broad, complex, bizarre, ultimately outrageous tragic-comedy about the relationship between a father and daughter. Peter Simonischek is Winifried, a divorced teacher with a baffling penchant for wacky humour, frequently donning comedy wigs and false teeth. His workaholic daughter Ines (Sandra Hüller) – a sleek oil company advisor – is less amused by such jokes. When Winifried suspects Ines is unhappy, he kindly decides to show up at her offices in a new guise: that of ‘Toni Erdmann.’

A highly original arthouse comedy, it makes one think deeply about the world even while laughing at scenes of nudity or a grown man walking down the streets wearing an oversized bear costume. Toni Erdmann is also slyly political, about the differences between those in Winfried’s generation, who came of age in the ’60s and rebelled against parents from the Nazi era, and those of Ines’s generation, who grew up in a post-Cold War capitalistic society.

“They’re very political; they raised their children with a lot of human values,” Ms. Ade has said of Winfried’s generation. “He wanted her to be free, self-determined. They believe in a world without borders. Then he’s confronted with things turned into the opposite.”

By using comedy, the film takes a new approach to German history. “The big myth in German cinema is that you have to wear a Nazi uniform to talk about the past, and it’s more complicated,” said Katja Nicodemus, the Die Zeit film critic.

Toni Erdmann has been selected as Germany’s 2017 Oscar entry for the Best Foreign Language Film.

“Maren Ade’s unique study of an estranged but mutually depressive father and daughter is a humane, hilarious triumph.” – Guy Lodge, Variety

“Toni Erdmann sets its critical sights not only on the odd folkways of the executive class, but also on German arrogance within the European Union and the casual cruelty of international capitalism . . . Like its hero, it wants to shake its audience, at least for the moment, out of habits of complacency and compromise, to alter our perceptions and renew our sense of what is possible.” – A.O. Scott, The New York Times, A NYT Critics’ Pick

“The film’s no-nonsense, visually plain documentary-style of shooting feels utterly appropriate to its sly evocation of the absurdities and banalities of modern life. Just brilliant.” – ★★★★★ Dave Calhoun, Time Out London