Feature Films / Fylmow Nas
Angèle and Tony (Angèle et Tony)
South West Premiere
Fri | 4 Nov | 17.20 | Screen 2 Book Tickets
Sun | 6 Nov | 18.55 | Screen 3 Book Tickets
Dir. Alix Delaporte | France 2010 | 15 | 88min
The award-winning debut feature from writer-director Alix Delaporte is an arresting and intimate drama about two lost souls in search of human connection. Angel (rising star Clotilde Hesme) is a young woman falling apart. Her background left unclear, she arrives at the seaside town of Normandy fiercely determined to reconnect with her young son, yet also scared she's unfit to take care of him. Tony (Grégory Gadebois) is a fisherman who lives with his widowed mother, trapped in emotional solitude. The two meet via a personal ad; Angel is forthright and rough, and her attempts to seduce him are met with surprise: Tony literally can't believe his luck. The two form a fractured relationship, but will the secret that Angel harbours threaten their future?
A small film that swells with resonance, Angèle and Tony was a sleeper hit at the French box office in early 2011, quickly expanding across the country on the back of overwhelmingly positive critical and public response. With her quiet, intimate approach, Delaporte allows the actors to shine, and the pitch-perfect, wholly naturalistic performances from Hesme and Gadebois elevate this absorbing and sensitive drama, as does the magnificent coastal scenery, not unlike Cornwall’s. In French with English subtitles.
Angèle and Tony will be released in the UK in March 2012.
A Separation (Jodaeiye Nader az Simin)
South West Premiere
Sat | 5 Nov | 20.50 | Screen 4 | Book Tickets
Dir. Asghar Farhadi | Iran 2010 | PG | 125min
Winner of the Golden Bear this year at the Berlinale, A Separation also picked up the top acting prizes for both its male and female ensemble of actors, led by Peyman Moaadi and Leila Hatami, respectively. The story, called by one reviewer a ‘marital thriller,’ pits one family against another in a legal battle over the care of an elderly man who suffers from Alzheimer’s, highlighting the gap between middle class and poorer, more traditional Iranians. Simin (Hatami) and her husband Nader (Moaadi) are first seen explaining their situation to a divorce judge. They’re separating because she wants to move abroad, to provide more opportunities for their 11-year-old daughter Termeh, while Nader wants them to stay put, to take care of his elderly father. What follows is a domestic drama of confrontation and unintended consequences, misunderstandings, suspicion, and even a charge of murder, under Iranian law, when a miscarriage occurs. Characters gain sympathy, lose it, then win it back. In Persian with English subtitles.
“The film develops into a complex moral dilemma that pitches religion against economics, one that brilliantly, and with creeping tension, encapsulates the tussles and fissures in Iranian society.” – Jason Solomon, The Guardian
Attenberg (A Greek Odd-yssey 1)
South West Premiere
Sat | 5 Nov | 10.10 | Screen 4 | Book Tickets
Dir. Athina Rachel Tsangari | Greece 2010 | 18 | 97min
The title comes from the characters’ mispronunciation of David Attenborough’s surname, utterly apt since Attenberg, an absurdist bookend for Giorgios Lanthimos’s Dogtooth, is about the strangeness of human behaviour. First-time director Tsangari was a producer on Dogtooth, and Lanthimos acts in this film – and they share a cinematogopher, Thimios Bakatakis. First-time actress Ariane Labed was named Best Actress at last year’s Venice film festival for her portrayal of the alienated 23-year-old Marina, whose father is dying and who suffers from a serious case of arrested development. (Even more impressive, Labed wasn’t fluent in Greek and had to learn her lines phonetically.) Marina is repulsed by human behaviour and much prefers David Attenborough documentaries. She can’t relate to anybody sexually, and a furious snogging session with her promiscuous girlfriend Bella (Evangelia Randou) leaves her feeling sickly.
Tsangari views her characters analytically, like a scientific sample, allowing in emotion only when Marina begins to experiment with desire and is forced to confront her father’s mortality. By turns fascinating and disturbing, and, like Dogtooth, utterly offbeat. In Greek with English subtitles.
“To enjoy ‘Attenberg,’ you have to tune in to an unusual wavelength, but there are strange pleasures to enjoy.” – Time Out London
“It offers its audience a mordant commentary on modern Greece – deriding its cultural and social decay, though without commenting directly on economic difficulties – and affects a serio-comic, quasi-anthropological detachment.” – Peter Bradshaw, The Guardian ****
“An imaginative curio of animal gestures whose emotional power creeps up on you.” — Nick James, Sight & Sound
Behold the Lamb
South West Premiere
Sat | 5 Nov | 18.30 | Screen 1 | Book Tickets
Dir. John McIlduff | UK 2011 | 18 | 85min + Q&A
*We warmly welcome Belfast -based writer-director John McIlduff, who will be joined for a Q&A by Aoife Duffin.
Bellflower
South West Premiere
Fri | 4 Nov | 12.55 | Screen 3 | Book Tickets
Sat | 5 Nov | 21.15 | Screen 3
Dir. Evan Glodell | USA 2011 | 18 | 103min
A self-destructive, action-packed love story – a “Mad Max” for a new generation. Shot on a micro-budget of $17,000 (£11,000) over three years, Bellflower was the sleeper hit at Sundance this year, and word-of-mouth popularity is earning it a ride on the festival circuit. Best friends Woodrow (Evan Glodell) and Aiden (Tyler Dawson) spend all their free time building flamethrowers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang “Mother Medusa.” When a charismatic young woman (Jessie Wiseman) enters the fold, they set off on a journey of love, hate, infidelity and extreme violence, more fiery than any of their apocalyptic fantasies.
Director Evan Glodell not only stars in the film and wrote the screenplay, he produced, edited and, unsatisfied with traditional cameras, built his own, using bits and pieces from other cameras. Rather than create effects in postproduction, Glodell and his cinematographer, Joel Hodge, relied on in-camera adjustments. This large-format camera made it easier to manipulate the look of a scene, creating skewed moments that seem simultaneously washed out and color-saturated.
“A likely cult hit among horror fans and a gleeful affront to more delicate sensibilities…” – Variety
“Mr Glodell’s gritty expressionism is a pleasurable kick, as are the turns in his story . . . the intentional roughness of his visuals, their literal dirt and distortions, underscores that this is handmade, personal moviemaking.” – New York Times (Critics’ Pick)
“A reeking, sweaty, aching fever dream of banal nihilism, B-movie mania and back-road grunge…” – New City Film, Chicago
Black Pond
South West Premiere
Fri | 4 Nov | 16.55 | Screen 1 | Book Tickets
Sat | 5 Nov | 18.45 | Screen 3 | Book Tickets
Dir. Will Sharpe, Tom Kingsley | UK 2011 | 15 | 83min + Q&A
Microbudget can make low-budget seem like a Lottery windfall. Black Pond’s budget was so tiny that while shooting a bedroom scene in Will Sharpe’s parents’ house, Sharpe’s father was outside the door in his pyjamas, waiting to go to bed. As for the story: the Thompson family is accused of murder when a stranger dies at their dinner table. Six months later, family friend Tim visits freelance therapist Dr Eric Sacks and the story finds its way to the press. The facts are bent and the details spun as the Thompsons become known to the public as “The Family of Killers.”
Two-time BAFTA winner Chris Langham (Help, The Thick of It) is hilarious and heartbreaking as the well-meaning Tom Thompson, who struggles to placate his neurotic wife, Sophie, and consistently fails to be a dignified father to his daughters, Jess and Katie. Double British Comedy Award winner Simon Amstell (Never Mind the Buzzcocks, Grandma’s House) is on top comic form in his feature film debut as the sinister and prodigiously frank psychotherapist Dr Eric Sacks. And then there’s the three-legged dog.
“A total delight. Chris Langham is comical, heartbreaking, utterly absorbing…” – Decca Aitkenhead, The Guardian
“Scrappy and joyous. Chris Langham rocks.” – Tim Robey, The Daily Telegraph
"This is a cleverly structured and inventive piece of storytelling that belies its modest budget. Black Pond is also very well acted, especially by Langham, who combines gravitas, pomposity and vulnerability to fine comic effect." -- Geoffrey Macnab, The Independent (Raindance Film Festival)
These screenings include a Q&A with the 25-year-old filmmakers, Will Sharpe and Tom Kingsley.
Dogtooth (Kynodontas) (A Greek Odd-yssey 2)
Sun | 6 Nov | 16.55 | Screen 2 | Book Tickets
Dir. Giorgios Lanthimos | Greece 2009 | 18 | 96min
Darkly comic, surreal and utterly absurd, Dogtooth defies description except perhaps as allegory – but as a warning against homeschooling, or totalitarian rule? You decide. A nameless family, involving a father, a mother, a brother and two sisters, live in a large home behind a very high wall and a locked gate, in a nameless area of Greece. The Greek light is icy and washed-out. Only the father ever leaves, driving to the factory he owns. The children have no idea of the outside world, where they are told man-eating cats roam. On the other side of the wall, they believe another brother lives, who they’ve never seen or heard. They are taught the wrong words for things, and the father teaches all the family members get down on all fours and bark like dogs. The mother seems to go along with it all. The father brings home a female security guard from his factory to slake his son’s sexual needs. The kids are so innocent, they decide that it’s much the same no matter where you lick, and trade favours for licking legs, elbows and ears. Sex seems to have no meaning, not even when incest is suggested.
The dialogue sounds entirely composed of sentences from tourist phrase books. But for all its cold and grotesque absurdism, Dogtooth is engrossing – and its final scenes are unexpectedly poignant and stay in the mind long after the bizarreness is forgotten. Winner of the prestigious Un Certain Regard in Cannes in 2009. (Lanthimos's latest film, Alps, is on the 20 not-to-be-missed list for this year's BFI London Film Festival.) In Greek with English subtitles.
“Indeed, Dogtooth is a film that delights in disconcerting the viewer and refuses to supply any easy answers (in fact, any answers at all). But it never feels like an exercise in audience-baiting; rather it is a sharp and alarming indictment of modern society.” – Little White Lies
“A black-comic poem of dysfunction, a veritable operetta of self-harm, this brilliant and bizarre film is superbly acted and icily controlled – it grips from the very first scenes.” – Peter Bradshaw, The Guardian
“A perverse but brilliant exploration of insularity, family and control, Dogtooth is barking in the best possible way. A genuine original.” – Catherine Bray, Film4
In a Better World (Haevnen)
South West Premiere
Fri | 4 Nov | 12.50 | Screen 4 | Book Tickets
Sun | 6 Nov | 19.15 | Screen 4 | Book Tickets
Dir. Susanne Bier | Denmark 2010 | 15 | 110min
An exploration of two families struggling to contend with grief and conflict in an increasingly violent world, In a Better World (Revenge in Danish) won this year’s Academy Award for Best Foreign Film. Susanne Bier’s 11th film caps a body of work that came out of the Dogme95 movement and includes the critically successful melodramas Brothers (2004) and After the Wedding, which was nominated for an Oscar in 2006. Like After the Wedding and several others of Bier’s films, In a Better World is set between Europe and the developing world. The parallel stories follow Claus (Ulrich Thomsen), who moves to Denmark following his wife’s death, and Anton (Mikael Persbrandt), recently separated from his wife and who commutes to work at an African refugee camp. As each family deals with the challenges and conflicts of their situations, their sons form an extraordinary and dangerous friendship with potentially tragic consequences. In Danish, Swedish and English, with English subtitles.
“Susanne Bier has a potent gift for turning abstract, moral questions into edge-of-your-seat compelling dramas that examine, with devastating effect, the complex web of feelings that make us who we are. With In A Better World, which deservedly won this year's best foreign language Oscar, she has outdone even herself.” – Kenneth Turan, Los Angeles Times
Kill List
South West Premiere
Fri | 4 Nov | 10.45 | Screen 1 | Book Tickets
Dir. Ben Wheatley | UK 2011 | 18 | 96min
Defying genre description – horror film? war film? marital drama? – Kill List has consumed untold newsprint and pixels as critics and viewers alike attempt to describe their reaction to and feelings about this ultra-violent shocker. Iraq war veterans Jay and Gal hold down day jobs as contract killers, when they’re offered a task, by a shadowy client, of such depravity that it drives Jay into a homicidal rage. Narratively ambiguous and speckled with humour, the film nevertheless retains a threat of toe-curling violence and evil terror throughout.
“If Ricky Gervais or Mike Leigh made a horror film, it might look something like this unsettlingly strange offering . . .” – Peter Bradshaw, The Guardian ****
“A revelatory cinematic achievement and the most original, unsettling and cerebrally menacing British film to emerge so far from this young and troubled decade.” – Nigel Andrews, Financial Times *****
Mother’s Milk
Advance Preview
Fri | 4 Nov | 20.15 | Screen 2 | Book Tickets
Dir. Gerry Fox | UK 2011 | 15 | 91min + Q&A
Based on the award-winning novel by Cornish-born Edward St Aubyn (St Aubyns have resided on and around St Michael’s Mount since the Normans), Mother’s Milk is a powerful, moving yet also blackly humorous drama, the fourth instalment in the five-part Patrick Melrose saga. (St Aubyn’s semi-autobiographical series culminated with the recent publication of the fifth and final book, At Last.)
An English family is forced to come to terms with the painful loss of their beautiful, beloved house in Provence. Told through the eyes firstly of an intelligent young boy, Robert (Thomas Underhill), then his troubled father, Patrick (Jack Davenport), and finally through his long-suffering mother, Mary (Annabel Munion), it depicts their growing sense of betrayal and consequent family breakdown when Eleanor (the late Margaret Tyzack, her final film role), Patrick’s stroke-afflicted old mother, decides to give the home to an Irish charlatan, Seamus (Adrian Dunbar), intent on setting up a New Age foundation there. Patrick inevitably descends into drunkenness and despair, even embarking on a short, adulterous affair as he struggles to contain his anger towards both Eleanor and Seamus but finally reconciles himself to the loss by trying to help his dying mother out of her misery. Set over a long, hot summer, the film was beautifully shot on 35mm by Bafta-award-winning arts director Gerry Fox.
*We warmly welcome director Gerry Fox, who will offer a Q&A following the film.
My Dog Tulip - with Sailcloth (short)
Sat | 5 Nov | 16.20 | Screen 4 | Book Tickets
Dir. Paul and Sandra Fierlinger | USA 2009 | 12A | 83min
Based on the beloved 1956 memoir by J.R. Ackerley, My Dog Tulip is an animated version of the bittersweet tale of a lonely, misanthropic gay man and his 15-year relationship with his neurotic rescue Alsatian, Tulip. This is not a Disney feel-good cartoon by a long shot: scatalogical messes and Tulip being mounted in heat are drawn with aplomb. A story of finding the perfect companion, Ackerley, voiced by Christopher Plummer, expresses the singular bond between man and canine: “She offered me what I had never found in my life with humans: constant, single-hearted, incorruptible, uncritical devotion, which it is in the nature of dogs to offer.”
Produced using TVPaint software, the animation consists of 58,320 drawings, involving four graphic styles: colour drawings portraying daily life; simpler drawings that evoke Ackerley’s fantasies; black-and-white line illustrations of daydreams; and whimsical yellow-pad scribblings.
“The film’s hand-drawn animation . . . and Mr Plummer’s understated conversational voice combine to make My Dog Tulip one of the most sophisticated dog movies ever created.” – Stephen Holden, The New York Times (Critics’ Pick)
“Fierlinger’s mobile, unruly animation catches the shrewd, observational humour of the original memoir and extends it adroitly.” – Kate Stables, Sight & Sound
To be followed by a screening of the award-winning short Sailcloth, which will include a Q&A with the film's Falmouth-based production designer Alan Munden.
The Red Machine
South West Premiere
Sun | 6 Nov | 10.15 | Screen 3 | Book Tickets
Dir. Stephanie Argy, Alec Boehm |USA 2010 | 12 | 84min
A valentine to old-fashioned ‘B’ movies as well as a nifty heist caper, The Red Machine is a fast-paced and entertaining thriller that neatly inserts itself into the cryptography genre. When thief Eddie Doyle (Donal Thoms-Cappello) gets caught on the job, the U.S. Navy decides he’d be perfect for stealing the secrets of Japan’s new cryptology machine, known as “Red.” To earn his freedom, Doyle must work with stone-faced Navy Lt. F. Ellis Coburn (Lee Perkins) – and together they must learn everything about the machine without being detected. This is low-budget filmmaking on a clever level – with delightful twists and winks along the way.
“Here’s a film with an elegant simplicity. Not a shot doesn’t do its work. It may remind you of a ’40s B crime movie, and I mean that as a compliment. When you don’t have a lot of explosions and special effects to exploit, you have to turn to the imagination — yours, and the audience’s.” – Roger Ebert, Chicago Sun-Times ***-1/2 (out of 4)
“Delightfully intelligent, delectably subversive and highly entertaining.” – George Heymont, The Huffington Post
Tomboy
South West Premiere
Fri | 4 Nov | 17.15 | Screen 1 | Book Tickets
Sat | 5 Nov | 10.10 | Screen 4 | Book Tickets
Dir. Céline Sciamma | France 2011 | U | 84min
Anyone who once wondered as a child what it would be like to switch gender (and who didn’t?) will be charmed by this gentle story of 10-year-old Laure (Zoé Héran), who arrives at her new neighbourhood in suburban Paris during the summer holidays and is a mistaken for boy by her potential new best friend Lisa (Jeanne Disson). On the spur of the moment Laure decides to call herself Mikael, and thus begins a secret exploration of burgeoning female sexuality shared only with her girly younger sister Jeanne (Malonn Lévana), who latches onto the fantasy of having a tough, protective older brother. Complications arise when Lisa develops a crush on Mikael.
The naturalistic performances of the young actresses are superb and convincing, and are key to Céline Sciamma’s brilliant depiction of the ways children conform to gender stereotypes. A graceful and intelligent film, this is Sciamma’s second feature, following her striking debut, Water Lilies. In French with English subtitles.
“The relationship between the two siblings is full of joy and tenderness, and Sciamma captures little moments between them that inform the film’s world of children.” – Screen Daily
“Beautifully filmed and performed, this raises brave questions about Laure’s sexuality and sexual identity, while leaving most answers to our imagination.” – Empire Magazine
“The performances of Zoé Héran as Laure and Jeanne Disson as Lisa are extraordinary and Sciamma's direction is finely balanced between telling a story and raising questions of sexual identity.” – Derek Malcolm, London Evening Standard
Weekend
South West Premiere
Sun | 6 Nov | 16.45 | Screen 1| Book Tickets
Dir. Andrew Haigh | UK 2011 | 18 | 96min + Q&A
Think of Before Sunrise in reverse: low-key Russell (Tom Cullen), a public pool lifeguard, meets gregarious Glen (Chris New) at a gay club, and their one-night stand evolves into a weekend of intimacy – of ideas, feelings and a self-awakening that neither man expected. Heartfelt and poignant, director Andrew Haigh’s second feature transcends sexuality, even as it addresses the paradoxes and challenges of gay identity.
Haigh was an editor for many years and worked on a range of films from Ridley Scott’s Gladiator to Harmony Korine’s Mister Lonely, and in 2008 was named one of the ‘Stars of Tomorrow’ in Screen International. He has made four short films, the last of which, Five Miles Out, premiered at the Berlinale in 2009. Micro-budget Greek Pete was his first feature and released in 2009.
Weekend, which had its world premiere at SXSW in March, continues Haigh’s upward trajectory – a triumph of naturalistic storytelling, with intelligent, believable performances by Cullen and New, and is undoubtedly one of the highlights of British filmmaking this year.
“There is also a need for stories that address the complex entanglements of love and sex honestly, without sentiment or cynicism and with the appropriate mixture of humor, sympathy and erotic heat. . . Andrew Haigh’s astonishingly self-assured, unassumingly profound second feature, is just such a film.” – A.O. Scott, The New York Times (Critics’ Pick)
*We are delighted to welcome director Andrew Haigh, who will introduce the film and present a Q&A afterwards.
We Need to Talk About Kevin
South West Premiere
Sun | 6 Nov | 11.50 | Screen 1 | Book Tickets
Sun | 6 Nov | 20.55 | Screen 3 | Book Tickets
Dir. Lynne Ramsay | UK/USA 2011 | 18 | 110min + Q&A (11.50 screening only)
The bestselling Orange Prize-winning novel by Lionel Shriver, We Need to Talk About Kevin reignited the nature vs. nurture debate and divided book groups worldwide. The film version is a brilliant adaptation of the book, which was written in epistolary form.
Eva (Tilda Swinton, a showcase of inspired casting) puts her ambitions and career aside to give birth to Kevin (played by thee young actors plus an infant, with Ezra Miller seductively menacing as the teenage Kevin). The relationship between mother and son is difficult from birth. When Kevin is 15, he does something shocking and unforgiveable. Eva grapples with her own feelings of grief and responsibility, expressed in letters to her husband, Franklin (John C Reilly). Did she ever love her son? And how much of what Kevin did was her fault?
By condensing Shriver’s story into effective vignette form in a 30-day shoot, Lynne Ramsay has powered her way back onto the big screen with an intelligent and cohesive interpretation. Her first feature since Morvern Callar (2002), Ramsay offers in Kevin a satisfying cinematic achievement five years in the making.
“A superb version of the Lionel Shriver novel . . . a skin-peelingly intimate character study and a brilliantly nihilist, feminist parable….” – Peter Bradshaw, The Guardian ****
“It’s hard to imagine a certain kind of effortful, teeth-gritting, fundamentally reluctant motherhood being nailed much better [than Tilda Swinton]….” – Tim Tobey, Sight & Sound
*We are honoured to welcome award-winning writer and journalist Lionel Shriver, who will offer a Q&A following the screening (moderated by Cornwall-based filmmaker Jane Pugh) and will sign copies of her books in the cinema foyer. With thanks to The Bookshop of Newquay for making the book-signing possible.
The Whistleblower
South West Premiere
Sat | 5 Nov | 12.05 | Screen 1 | Book Tickets
Dir. Larysa Kondracki | USA 2010 | 18 | 112min
This political thriller stars Rachel Weisz as real-life Nebraska policewoman Kathryn Bolkovac, who was sent on a peacekeeping mission to post-war Bosnia. While there, tending to small crimes and human rights issues, Bolkovac discovers a brutal sex-trafficking ring with ties to high-level executives at the United Nations. Risking her life, Bolkovac secretly continued her mission to uncover the corrupt dealings and swore to help protect innocent women from becoming modern-day slaves.
The film is challenging and at times unbearable to watch, but it sheds light on a pervasive crisis that is happening everywhere around the world. Director Larysa Kondracki first discovered the epidemic of sex trafficking while finishing her M.F.A. at Columbia University. She then encountered Bolkovac’s story and offered to tell it. Kondracki spent years researching the story before writing the script for The Whistleblower. In English and Bosnian with English subtitles.
“Here is a film to fill you with rage . . . What makes it so effective is that Weisz doesn't play her character as any species of action heroine, but simply as a competent, dutiful cop who is naive enough to believe her job should be performed by the book.” – Roger Ebert, Chicago Sun-Times ***½ (out of 4)
*We welcome Kathryn Bolkovac, who will introduce the film and afterwards offer a Q&A. She will be signing copies of her book, The Whistleblower: Sex Trafficking, Military Contractors, and One Woman’s Fight for Justice, in the cinema foyer. With thanks to The Bookshop of Newquay for making the book-signing possible.
Wuthering Heights
South West Premiere - Opening Night Film
Fri | 4 Nov | 20.55 | Screen 3 | Book Tickets
Dir. Andrea Arnold | UK 2011 | 15 | 129min
Dickens, Austen and the Brontës have provided filmmakers with endless opportunities to remake classic tales with a personal stamp. Andrea Arnold’s interpretation of Wuthering Heights, which premiered in competition at the Venice film festival in September, has stripped away the conventions of period costume drama. Gone are the frills and the swoons – and her cast of unknowns includes a black Heathcliff (newcomer James Howson in the adult role), now imagined as a runaway slave. Cathy is played by teenager Kaya Scodelario, from Channel 4’s Skins.
We wouldn’t expect anything less than a raw and bleak retelling of love on the windswept moors from the director of the award-winning Glasgow-based thriller Red Road (which Andrea personally presented at the 2006 Cornwall Film Festival) and the gritty and unsettling Fish Tank (screened at the Festival in 2009), which won the Jury Prize at Cannes and gave Michael Fassbender one of his best roles en route to international stardom. Andrea’s vision of doomed passion and revenge in remote Yorkshire may flout convention, but it should be noted that Emily Brontë’s only novel was also met with mixed reviews when it first appeared in 1847.
“Full credit to director Andrea Arnold for taking such a bold and distinctive approach . . . What comes back is a beautiful rough beast of a movie, a costume drama like no other. This might not be warm, or even approachable, but it is never less than bullishly impressive.” – Xan Brooks, The Guardian
"The success of Arnold's film is that she sees Heathcliff as the Byronic hero he is: wild as the moors themselves, rebellious, passionate and also, as the story progresses, a boy lost in a man's body . . . . she has truly attempted to tear up the rule book for adapting period novels, and in this sense her film is closer to the wild, brutal beauty embodied by Wuthering Heights and the Romantics." – Amy Raphael, Sight & Sound
“Nature is the true star of Andrea Arnold’s Wuthering Heights, a raw and affecting adaptation that will bring a new audience to the Brontë story. Windswept moors have never looked as bleak as they do here, nor as rain-sodden. The Yorkshire Tourist Board shouldn’t expect a boost in visitor numbers.” – Anita Singh, The Telegraph
Wuthering Heights will be released in the UK on 11 November.
We are grateful to the Cher Varya Group for sponsoring this year's two Opening Night films.
