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Why the BBC’s failure to edit the BAFTA slur highlights a need for better education and production protocols. BAFTA judge Jonte Richardson has announced his resignation following Sunday evening's controversial events during the awards ceremony. In a sharp critique of the incident, Richardson described the events during Sunday night’s awards ceremony as "utterly unforgivable."  Michael B Jordan & Delroy Lindo at the BAFTAs 2026 The Incident   The controversy arose during the presentation of an award by actors Michael B. Jordan and Delroy Lindo. During their time on stage, Tourette's syndrome campaigner John Davidson vocalised a racist slur. While both actors appeared visibly shaken by the outburst, they remained professional and continued with the presentation.  John Davidson is a prominent Tourette syndrome activist whose life story was adapted into an inspirational film, I SWEAR, highlighting the hardships associated with the condition. Following the ceremony, Davidson expressed his distress over the event: “I am deeply mortified if anyone considers my involuntary tics to be intentional or to carry any meaning. I have spent my life trying to support and empower the Tourette's community and to teach empathy, kindness and understanding from others and I will continue to do so.” Questions of Editorial Oversight   John Davidson at the BAFTAS 2026 Davidson has worked alongside the BBC on multiple occasions. He suggested that the broadcaster should have been better prepared for the nature of his condition to prevent such tics from being broadcast.  Davidson remembered “there was a microphone just in front of me, and with hindsight I have to question whether this was wise, so close to where I was seated.”  Davidson continued, “ I want people to know and understand that my tics have absolutely nothing to do with what I think, feel or believe. It's an involuntary neurological misfire. My tics are not an intention, not a choice and not a reflection of my values.” A Pattern of Scrutiny    This follows previous criticism of the BBC’s management, when the broadcaster faced backlash over the performance by rapper Bob Vylan at Glastonbury, which contained controversial language, and remained on iPlayer for several hours after the live set. The BAFTA incident has placed the BBC under renewed scrutiny. Despite assurances that the ceremony would be edited to remove profanity before airing, the inclusion of the slur has sparked a heated debate regarding broadcaster accountability and the sensitivity required when filming individuals with involuntary conditions.  Key Takeaways Ultimately, accountability for this oversight lies with the BBC. While the broadcaster works diligently to champion diverse and inclusive spaces, more robust measures should have been implemented, not only to prevent the slur from reaching the airwaves but to ensure that both the audience and the presenters were adequately briefed beforehand. For many, encountering the complexities of Tourette syndrome can be a profound shock, particularly when tics involve involuntary vulgar language. While this production failure shouldn't discredit the BBC’s broader commitment to representation, it highlights a clear need for improved protocols. The delay in rectifying the digital broadcast remains a significant concern, yet it also presents a vital opportunity for us all to better educate ourselves on the realities of Tourette syndrome and foster a deeper understanding of the disability. Written by Angelique Cloete

As Director of Cornwall Film Festival, delivered by Mor Media Charity, I’m writing this to raise awareness of a quiet but serious issue facing the UK’s cultural landscape: independent cinemas have been excluded from the Government’s recent £1.5 billion investment in culture . Like many in the sector, we welcome this significant investment and recognise its potential to support sustainable cultural organisations that contribute to economic growth, wellbeing and social cohesion. But the absence of cinemas, particularly independent and community-facing cinema, is deeply worrying. Top left: Merlin Flora Cinema, Helston, The Poly Falmouth, WTW Lighthouse cinema, Newquay. Middle row, Mike Leigh & Mark Kermode at Cornwall Film Festival, the Merlin Savoy cinema, Penzance. Bottom left Merlin Regal Redruth, WTW The Regal Wadgebridge, Newlyn Filmhouse Cinemas are a vital part of the cultural infrastructure Cornwall Film Festival works year-round with independent cinemas and community screening venues across Cornwall, where cinema is often the most accessible cultural experience available locally. In a geographically dispersed county, these spaces are not a luxury; they are essential. Through our partnerships, we: bring UK and international film & filmmakers to Cornwall support early-career filmmakers deliver education and outreach programmes for young people create shared cultural experiences that strengthen community connection Independent cinemas sit at the heart of this ecosystem. They act as cultural anchors, support local economies, nurture creative talent and provide inclusive, affordable access to culture. A sector at risk We welcome the investment but urge the Government to reconsider the exclusion of cinemas from capital funding. Our national partners at the Independent Cinema Office provide this stark evidence: 31% of independent cinemas  do not believe they can remain operational without access to capital funding within the next 3–5 years A further 28% are unsure For many, there is currently no viable route to National Lottery or public capital investment This is not a marginal issue; it’s an existential one. Why this matters in places like Cornwall In regions such as Cornwall, cinemas play a disproportionate role in sustaining cultural life, supporting local creative industries and tackling rural isolation. Treating cinemas differently from museums, libraries, arts venues and heritage buildings risks undermining the long-term resilience of our cultural infrastructure. If we believe culture should be accessible to everyone, not just those in major cities, and cinemas must be recognised as part of that essential fabric. A call for change Today, I have written to Jayne Kirkham , MP for Penryn & Falmouth, asking her to raise this issue with the Department for Culture, Media and Sport . I have also written to Lisa Nandy , Secretary of State for Culture, Media and Sport, urging her to support the inclusion of independent cinemas within future cultural capital funding programmes. Independent cinemas deserve to be supported on an equal footing with other cultural institutions, not as an afterthought, but as a cornerstone of cultural life. If we allow these spaces to disappear, we don’t just lose screens. We lose places of gathering, discovery, learning and shared experience. And once they’re gone, rebuilding them will be far harder and far more costly than supporting them now. Louise Fox Director, Cornwall Film Festival Mor Media Charity

Brief Encounter (1945), 1946 UK release, directed by David Lean, screenplay Noel Coward, starring Celia Johnson and Trevor Howard Written by ©Judith Noble, November 2025. Professor Emerita (Film and the Occult) Brief Encounter has classic status; one of the most beloved of British films; the ultimate weepie, British audiences cited it as the film most likely to make them cry. Its reputation has grown in the last forty years; time has changed our appreciation of it. It was moderately successful on release, but out-performed at the box office by The Wicked Lady. It was characterised on its release as a quality film that would attract middle-class audiences. Now here it is in a season of melodramas. Let’s look a little closer at the film’s appeal: why does a black and white 1940s movie that revolves around just two very middle-class characters (with the kind of accents that are only heard in comedies these days) living out gender stereotypical roles that barely exist anymore, and who, by modern standards, do not really get up to very much, still attract audiences eighty years after it was made? The film retains a tremendous emotional power. Some years ago, I had the salutary experience of teaching film narrative to animation students at an arts university by screening examples of classic films. Part of the post cinema generation, these students had never seen any classic films before. My practice was to screen the first half hour of the film (due to time constraints) then discuss what was going on, and leave the students to watch the rest in their own time. When it came to Brief Encounter, the outcome was startling. At the end of half an hour, the students begged me not to stop the screening, so we watched the whole thing. By the end, all the students were weeping. Many of them were very shocked that the film had elicited this response, although I had forewarned them about its power. I spent the lunch hour comforting distraught animators. Brief Encounter is being shown today in the context of a season of melodramas, often a very undervalued genre. A melodrama can be defined as a film where music is a fundamental element of the narrative. It is also usually a film made for female audiences, with a story told from a woman’s point of view, and full of emotional highs and lows. Brief Encounter is certainly all of those things. The music especially is a key: Rachmaninov’s dramatic, romantic Second Piano Concerto played here by Eileen Joyce (a very popular female performer when the film was made). I think the film is also rather more than a melodrama. It may surprise people to learn that in the 1920s and 30s the key textbook for Hollywood screenwriters was Aristotle’s Poetics. How many of them used it to good effect is open to debate, but Brief Encounter fits Aristotle’s definition of tragedy perfectly: the characters try to escape their pre-ordained fates; the audience empathises with them in this; the drama evokes feelings of pity for them, and at the end the audience experiences an emotional cleansing or catharsis. This is a film about two, small ordinary lives, but it is no less tragic for that; the characters cannot escape their fates and we weep for them. It is, of course, perfectly okay to weep when watching Brief Encounter and indulge in catharsis as approved of by Aristotle. There is so much we could say about this film. To some it may seem dated and class ridden, and some of the humour has to be explained to younger audiences. The phrase, “getting a girl into trouble”, for example, has lost its risqué meaning. Eighty years after its making, surely there are no middle- class nuclear families with cut glass English accents, two perfect children and a servant to make dinner anymore? But… surely anyone who has loved “the wrong person” will see something of themselves in this film, and recognise the power and danger in desire that can tear lives and families apart. Perhaps too, the film will appeal most to those who have shared the experience of its main characters: an older audience with more life experience; to those who “do the right thing” and who do not allow illicit desire to disrupt family and relationships, but who will still be changed by it forever. Part of the film’s success lies in the fact that it is incredibly well-crafted and precisely made in a particularly British, tweed jacket kind of a way. Acting, mise-en-scene, camerawork, are all more or less perfect. It has strong links to the theatrical tradition: The confined interiors, the close focus on the two main characters, and the comic working class characters used as foils for the protagonists which date back as far as Shakespeare (think of the ‘rude mechanicals’ in A Midsummer Night’s Dream) but is completely cinematic, for example the close up of Dolly’s mouth as she talks relentlessly, and the tracking shot that opens the first refreshment room sequence and establishes the characters. The spare, matter of fact acting and camerawork and the pace of the film, hurried along by the plot device of the railway timetable, mean it never descends into sentimentality. It has wry moments of comedy, mostly at the expense of the popular culture of its time. Please do look out for the wonderful comic cameo by the ineffable Irene Handl. It is a “woman’s story” and told throughout from Laura’s point of view; she narrates it. But look, she is not just telling us her story; she is telling it in her mind to her husband, Fred, the one person to whom, as she says, she will never really be able to tell this story. It is important to note, though, that there are no women behind the camera here; we have Lean and Coward telling a woman’s story. The role of Celia Johnson is absolutely pivotal, and her performance is extraordinary. She is on screen for almost all of the film. Notice how she has to act silently in several sequences, conveying extreme emotion without speaking on camera, while telling her own story in voice over. She comes across as a much stronger character than Trevor Howard. I find his actions have a difficult coercive undertone; he continually forces Laura to admit more, do more, overcome her scruples, and this makes her moral dilemma all the more frightening and compelling. Just as the protagonists are dominated by their societal roles and rigid convention, so the plot is dominated by time. It is structured through the railway timetable which allows the lovers only brief bites of time together before they must catch their trains home to their families. As well as the narrative, the music, the Rachmaninov concerto, belongs to Laura: we only hear it through her (it stops when the camera focuses on other characters) and it signifies her desire for Alec, so the symbolism of Fred asking her to turn the music down as she sits overwhelmed by emotion, is almost unbearable. The film is often described as “realist”: Its rundown realistic locations and sets are a million miles from Hollywood scenarios, or from other lavish British films of the period (The Wicked Lady, for example), and the characters wear understated everyday clothes; it is trying to look just like the lives of its intended audiences. It has always been recognised that Brief Encounter, written by one of the most well-known gay men of his generation, has a gay subtext, and it remains a favourite with queer audiences. The film is based on Coward’s play, Still Life , and we should note here Kneehigh Theatre’s wonderful live theatre production of Brief Encounter, first performed in 2007 and directed by Emma Rice, that draws heavily on Coward’s original theatre piece. We can read the love affair in Brief Encounter as emblematic of the fleeting unfulfilled desire that was the experience of gay men at a time when homosexuality was a criminal offence. Richard Dyer’s book on the film for the BFI Classic Films series explores in detail the many pleasures of Brief Encounter for queer audiences. In 1990 Richard Kwietniowski (who subsequently directed the feature film Love and Death in Long Island) directed a witty, elegant short film, Flames of Passion; a gay re-imagining of Brief Encounter. Brief Encounter has for me a strong link to the world of fairy tales and archetypal storytelling. In the inciting incident. Laura gets a piece of grit in her eye, and Alec removes it. This is what everyone remembers about the film and it has been used in comic sketches and advertising down the years. This metaphor of “something in the eye”, of fear of blindness, which is specifically referred to here, and of another kind of sight is common in folk tales; think of the splinter of ice in little Kay’s eye in The Snow Queen. Faery ointment confers the ability to see into Faerie and bestows inner vision on mortals and may be dispensed by faeries or by mortals working for the faeries. But this second sight, this inner vision is a precious and secret thing; only meant for mortals if gifted to them by the faeries, and not to be stolen or taken by accident. If you admit to having it without permission, disaster will ensue. In one folk tale which has variants across Wales, Cornwall and other parts of Britain, a mortal nurse hired to look after faerie children accidentally gains the sight through misuse of faerie ointment. She admits to her faerie master that she can see him; he asks her which eye can see him, and immediately blinds her in that eye. This kind of magic vision, gained by Laura when the grit gets in her eye, is a very dangerous thing. She did not ask to be given it but it will change her forever. It enables her to “see” Alec in a new and shocking way; to look and to desire; were she to admit to this, she would lose everything. Notice how, when the flashback sequence starts we see Laura sitting on a chair at home with her workbox, seeing herself in her inner, magic vision, looking into the inner world of the film and her last meeting with Alec. In the café, when Alec starts to explain to her about his medical specialism, she says “I see” repeatedly. There are metaphors for vision throughout the film, not least when we watch the lovers in the cinema watching a film. When we see Laura looking through the window of the railway carriage, she is looking intently, but seeing her new inner worlds and the object of her desire rather than her everyday surroundings. Brief Encounter reminds its audience repeatedly of this archetypal storyteller’s trope of the second sight, the faerie vision which is full of pleasure, danger and tragedy in equal measure. Please remember: Its okay to cry . Watch a clip of Flames of Passion; a gay re-imagining of Brief Encounter.

Acclaimed British feature Edge of Summer, directed by Lucy Cohen, returns to Cornwall this spring for a special regional cinema tour featuring exclusive director Q&As and selected cast appearances. Brought to you by Mor Media Charity EDGE OF SUMMER TOUR Director Q&A and Cast Appearances Across March and April Are you a venue interested in a screening ? Register your interest here > Merlin Savoy Cinema Penzance Wednesday 25 March > Book WTW White River Cinema St Austell Thursday 26 March > Book WTW Plaza Cinema, Truro Friday 27 March > Book Merlin Regal, Redruth Saturday 28 March > Book WTW Lighthouse Cinema, Newquay Wednesday 1st April, 5.30 pm Book The Poly, Falmouth Thursday 2 April > Book BOOK NOW BOOK NOW BOOK NOW BOOK NOW BOOK NOW BOOK NOW THE FILM EDGE OF SUMMER ACROSS CORNWALL Acclaimed British feature Edge of Summer, directed by Lucy Cohen, returns to Cornwall this spring for a special regional cinema tour featuring exclusive director Q&As and selected cast appearances. Set on the Cornish coast in the summer of 1991, Edge of Summer is a haunting coming-of-age drama about first love, grief and the moment childhood innocence fractures. The film premiered at the Glasgow Film Festival and marks Cohen’s fiction debut following her BAFTA nominated documentary work. Shot entirely on location across Cornwall, the film transforms the region’s coastline and historic tin mines into a powerful cinematic landscape rooted in folklore and emotional memory. United Kingdom/ 98 minutes/ Drama/ Thriller / English | CFF15 Film followed by a Q&A with the director + tallent BOOK TICKETS ABOVE DIRECTOR BIOGRAPHY LUCY COHEN Lucy Cohen is a London-based writer/director. After training as a print journalist, she worked in documentary television for 15 years, making programmes for the BBC and Channel 4. Her move to independent film began in 2015 with the short, LIFE IN FILM, supported by the BFI National Film Archive’s ‘Luminous’ campaign. In 2017, her debut feature, KINGDOM OF US, was nominated for a BAFTA for Outstanding Debut, a BIFA and won the Grierson award for Best Documentary at London Film Festival. Produced by Julia Nottingham, it was acquired worldwide by Netflix. In 2017 she was selected for Guiding Lights, the UK film industry’s leading mentorship programme where she was mentored by Andrew Haigh. In 2018, she was named a BAFTA Breakthrough Brit and in 2019 one of Campaign’s Top 10 Directors for her commercial work. EDGE OF SUMMER is Lucy’s debut fiction feature and was part of the BFI and British Council’s Cannes Great8 Showcase in 2023. Her second feature is in development with Film4. She is represented for Film and Television by Casarotto Ramsay and Associates. THE CAST FLORA HYLTON & JOEL SEFTON-IONGI are EVIE and ADAM Flora and Joel are both unknown actors. Flora is from Bath and Joel was cast locally in Cornwall. Edge of Summer is their debut feature. In casting, we were struck by Flora’s subtlety and the layers behind her performance. You could see within her both the ‘woman’ and the ‘child’. This was really wonderful to capture, especially in the interplay with her on-screen mother. It’s not easy to find a 12-year-old boy who is open to showing vulnerability. Joel was an outstanding listener and really connected to his character. He has such an open heart, kind soul and willingness to give everything, he was a joy to work with said The Director SKYER DENNETT is DAWN Skyer is also from Cornwall and has never acted before. She came to an audition when her brother was trying out for Adam. It can be tricky to find a child so young who doesn’t want to ‘perform’ in a very demonstrative way. Skyer has so much wisdom, wit and thoughtfulness, bringing so much of her totally authentic self to Dawn. JOSIE WALKER is YVONNE Josie’s recent film work includes BELFAST (dir Kenneth Branagh) and THE WONDER (dir Sebastián Lelio) as well as THIS IS GOING TO HURT for BBC. As a theatre actress Josie has been nominated for 3 Laurence Olivier Awards, most recently for Best Actress in a Supporting Role for her performance in ‘THE OCEAN AT THE END OF THE LANE’ at The National Theatre NICHOLA BURLEY is DEBBIE Nichola most recently wrapped on PROTECTION (ITV) and will next be seen in a leading role in DANCE SCHOOL (C4). Her previous TV credits include THE GOLD (BBC/Paramount+), hit drama BEHIND HER EYES (Netflix) and Sean Durkin’s award winning SOUTHCLIFFE (C4). Nichola’s extensive film credits include playing the lead in the critically acclaimed Fyzal Boulifa’s LYNN AND LUCY, Andrea Arnold’s WUTHERING HEIGHTS and Olly Blackburn’s cult hit DONKEY PUNCH. STEFFAN RHODRI is TONY Steffan is a Welsh Actor best known for his role in GAVIN & STACEY (BBC) as well as his recent role in Amazon’s acclaimed series HOUSE OF DRAGON. His PREVIOUS film credits include HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (2010) and WONDER WOMAN. As a theatre actor his most recent credits include THIS HOUSE (The Garrick Theatre), KILLER JOE (Trafalgar Studios) and THE HAIRY APE (The Old Vic). EDWARD ROWE is PETE Edward is a Cornish Actor best known for his lead role in Bafta winning film BAIT (dir Mark Jenkin). The film won BAFTAs for Best British Film and Outstanding debut in 2020 and was nominated for several BIFIAs the same year. His more recent TV credits include HOUSE OF DRAGON (Amazon) and THE WITCHER (Netflix). THE 90 S It was important for me to set the film in the early 90s. Not only was I Evie and Adam’s age, but in a pre-digital era, life as a child was so different. Holidays were spent fighting the boredom and finding new adventures, children had their secret lives and parents had theirs. When questions and uncertainty struck, there was nowhere to go for answers, you shouted into the void, you had to work it out yourself. There was something so wonderful in this, the place imagination played self-discovery, the learning that came in the silence and the boredom, the endless hours to reflect. I knew I wanted to create a feeling of nostalgia and melancholy in the film, as innocence is lost and childhood itself becomes a ghost. However, I never wanted to go strongly ‘period’. We have a sense it is roughly 80s or 90s, but it doesn’t wear it on its sleeve. I think this timelessness is so important to creating a world that opens up and lets you and your own memories in. The Director STORIES FROM ALL CORNERS OF THE WORLD - OUR FUNDERS & PARTNERS

Cornwall Film Festival 2025 Best of the West Short Film Programme STEP INTO THE FRAME AND EXPERIENCE STORIES FROM ALL CORNERS OF THE GLOBE Cornwall Film Festival is a global platform inviting filmmakers from every corner of the world to showcase bold, captivating and innovative stories. BOOK TICKETS 11 Best International Shorts Copy of Best International Shorts Best of the Best CFF Awards Screen Stars Student Shorts Best of the West SW Regional Shorts 20 Under 25 Best Cornish Shorts Experimental Videos Press Blog Merch Store TOO MUCH: MELODRAMA ON FILM Talks CFF 25 Industry 2025 FAQ's & Access 2025 Diary & Tickets 2025 Black Tide In Focus 2025 Selected films 2025 Short Films home 2025 QuckCut 90sec BEST OF THE WEST POLL PRI (CLAY TIP) EDWARD ROWE Following in his dad's footsteps, and his fathers before him, young father-to-be Jori works long shifts hosing clay from the gaping abyss of the pit. But the gap between his wages and the new "affordable" housing in his home village threaten to wash away any dream of supporting his family whilst upholding the traditions of his community. BARE ROOTS ELLEN MCDOUGALL In the depth of winter, an estranged mother and daughter plant a bare root hedge, unearthing the loss and heartbreak they have each buried, and exposing their needs for home, and each other. AN MOR: WHERE THE TIDES SPEAK GUY POTTER, NAHALIA LOREN COUTO Set along the rugged and awe-inspiring Cornish coastline, the film follows a young Zennor-born surfer and wild swimmer as she turns to the ocean and land to navigate a deeply personal crossroads. Shaped by her connection to Cornwall’s raw beauty and the mythical allure of her hometown’s namesake—the Cornish mermaid of Zennor—she reflects on her bond with the sea and faces the dilemma of leaving her coastal home to pursue her dream of becoming an actress in London. NACRE LYDIA JENKINS Set in the 13th century, Fishwife follows Maggie who has been left on the rocks as a sacrifice for a Sea Monster. Maggie appears to be a shy, obedient woman who believes she is performing her duty to her people. As she begs for death on the shore, Maggie confesses why she volunteered herself as a sacrifice. SPARE PART ADA PLAYER AND BRON WAUGH A playful comedy from Bafta-Nominees Ada Player and Bron Waugh about a shy loner who is desperate for attention from her football crazy boyfriend PAPER BAG THIEF ALICE PANERAI A hilariously inept robbery turns deadly when a bartender and a paper-bag-wearing thief find themselves in a ridiculous standoff fuelled by posh wine and platform shoes. CIRCLE HOOK MADDY CORNER Set against the backdrop of a declining fishing industry in Cornwall, Circle Hook follows Samuel and his grandson Vinnie as they wrestle with grief, connection and the pressures of survival. On a day like any other, their bond is tested at sea, leading to an unexpected discovery that offers both hope and a way forward. A tender story of resilience, tradition and the ways we carry our loved ones with us, even after loss. MUDDIED CORDELIA ANGEL CLARKE WOMAN picks herself apart as she reimagines repressed childhood memories of her younger, more curious self and her mother. She longs for touch and connection, yet faces rejection from her relationships as her mothers negative attributes imprint upon her and surface. As she continues to reflect and find self love, she gains a greater understanding of her mother’s parenting and inadvertently becomes the mother she always needed. THE REMOVED REBECCA ROSE Thinking she is alone, a woman desperately searches the woods for a hidden secret. DAVE MUIR - 'ALL OR NOTHING' HUGO PETTIT This is a brief look into the effect of seasonality on mental health. Despite leading the 'perfect life', running a surf school on one of the UK's most perfect beaches, is a seasonal life as enviable as it looks from the outside? BURNOUT MATTHEW HENDRY AND TOLLI MYERS Burnout is a stop-motion short that combines dark, cinematic visuals with unexpected moments of comedy. The film follows a character trapped in a furious cycle of work, as mounting stress begins to unravel him. Born from this inner turmoil, an uncontrollable force emerges, wreaking havoc in its wake. Through a unique blend of pixilation and traditional puppet animation, Burnout explores the suffocating effects of stress, inviting viewers to witness a surreal descent into chaos, where the boundaries between mind and physical reality blur. PEN MARI SION MARSHALL-WATERS In the desperate search for a horse’s skull to lead an ancient folk procession, a man is drawn into the black market for animal body parts. SOUNDS OF OUR LIVES COCO POTTER I'M NOT HERE BENJAMIN JAMES WOOD ENTER NOW Our programme of shorts features the most innovative and adventurous ideas from filmmakers whose short films manifest stylistic boldness, strength of form, and the ambition to use the medium in a way that resists cliché. Shorts to feature films, the Cornwall Film Festival is a British Independent Film Awards Qualifing festival. ENTER NOW WHAT'S ON Lifelong Learning week 3–7th November 2025 Creative Careers Month November Community week 10-16th November 2025 2025 IntoFilm Schools Festival 11-28th November BFI Blockbuster season Too Much A Season Of Melodrama Previews week at The Poly Falmouth 17th - 22nd November 2025 STORIES FROM ALL CORNERS OF THE WORLD - OUR FUNDERS & PARTNERS

Immersive and interactive media experiences at Cornwall Film Festival 2025. STEP INTO THE FRAME AND EXPERIENCE STORIES FROM ALL CORNERS OF THE GLOBE Cornwall Film Festival is a global platform inviting filmmakers from every corner of the world to showcase bold, captivating and innovative stories. BOOK TICKETS 11 Best International Shorts Copy of Best International Shorts Best of the Best CFF Awards Screen Stars Student Shorts Best of the West SW Regional Shorts 20 Under 25 Best Cornish Shorts Experimental Videos Press Blog Merch Store TOO MUCH: MELODRAMA ON FILM Talks CFF 25 Industry 2025 FAQ's & Access 2025 Diary & Tickets 2025 Black Tide In Focus 2025 Selected films 2025 Short Films home 2025 QuckCut 90sec FEATURE FILMS THE ICE TOWER 22:00 | 22.11.24 | THE POLY A hypnotic new fairytale from Lucile Hadžihalilović (Innocence, Evolution). In her most fantastical feature yet, The Ice Tower follows Jeanne (newcomer Clara Pacini), a teenager who escapes her secluded orphanage and slips onto the set of a lavish Snow Queen adaptation. There she encounters the film’s magnetic star Cristina (Academy Award-winner Marion Cotillard), and together they embark on a spellbinding journey that drifts towards a chilling finale. Dir. Lucile Hadžihalilović | 2025 | 1h 58m | French (with English subtitles) | Fantasy | CFF 18 Film gala followed by Q&A with the director. BOOK TICKETS THE MASTERMIND 22:00 | 22.11.24 | THE POLY Josh O'Connor portrays a down-on-his-luck art thief in this smouldering heist drama. Dir. Kelly Reichardt | 2025 | 1h 50m | English | Crime | 12A BOOK TICKETS KONTINENTAL ’25 22:00 | 22.11.24 | THE POLY A bailiff confronts thorny ethical conflict in this sharp-witted satire from Film Festival favourite Radu Jude Dir. Radu Jude | 2025 | 1h 49m | Drama (with English subtitles) CFF18 BOOK TICKETS PILLION 22:00 | 22.11.24 | THE POLY A transgressive romantic drama starring Alexander Skarsgård and Harry Melling. Seductive, daring, and unexpectedly tender, this striking debut brims with charm. Dir. Harry Lighton | 2025 | 1h 43m | English | Comedy, Drama, Romance | CFF18 BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home.Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 Film gala followed by Q&A with the director. BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 BOOK TICKETS HERETIC 22:00 | 22.11.24 | THE POLY Hugh Grant stars as the diabolical Mr. Reed in a horror tale of two young missionaries trapped in his sinister home. Dir Scott Beck, Bryan Woods 1h 51m | Horror/Mystery | 2024 BOOK TICKETS SHORTS Our programme of shorts features the most innovative and adventurous ideas from filmmakers whose short films manifest stylistic boldness, strength of form, and the ambition to use the medium in a way that resists cliché. Shorts to feature films, the Cornwall Film Festival is a British Independent Film Awards Qualifing festival. ENTER NOW WHAT'S ON Lifelong Learning week 3–7th November 2025 Creative Careers Month November Community week 10-16th November 2025 2025 IntoFilm Schools Festival 11-28th November BFI Blockbuster season Too Much A Season Of Melodrama Previews week at The Poly Falmouth 17th - 22nd November 2025 INDUSTRY FOCUS 2025: PRODUCING EXPLORING THE ART AND BUSINESS OF SCREEN PRODUCTION At Cornwall Film Festival 2025, our annual Industry Focus shines a spotlight on the vital and often misunderstood role of the Producer. Whether you're working in short films, feature narratives, factual TV, or digital platforms, producing sits at the heart of the screen industry. This year’s focus explores all facets of producing—from development and financing, to production logistics, distribution strategy, and creative leadership. Through talks, panels, roundtables, and networking, we’ll be lifting the curtain on what it really takes to get a story from script to screen. READ MORE STORIES FROM ALL CORNERS OF THE WORLD - OUR FUNDERS & PARTNERS