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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.

Many people saw it as a bit of fun as we explored a mock haul from the Louvre , inspired by the quirky escapades of a fictional art heist! But while our playful nod to jewel-thieving mischief might have sparked smiles, Kelly Reichardt’s The Mastermind —screening at The Poly, Falmouth on Sunday 23 November, 5.15–7.15pm —offers a far more reflective take on crime, consequence, and chaos. Reichardt, the acclaimed filmmaker behind First Cow  and Showing Up , turns the heist genre inside out in this quietly riveting new drama. The Mastermind  follows JB Mooney (played by Josh O’Connor ), a down-on-his-luck carpenter and failed art historian who persuades his mates to steal a series of Arthur Dove paintings from their local museum. The plan is doomed from the start—spotted by schoolgirls, bungled in a scuffle, and undone within days—but the director’s lens transforms their failure into something strangely beautiful. Set in 1970s America , at the crossroads between the fading dreams of the 60s and the disillusionment of the new decade, Reichardt’s film pulses with quiet tension and political undercurrent. While Mooney stumbles from one mistake to the next, the background hums with anti-war protests, Nixon broadcasts, and the creeping rise of individualism. It’s a heist film stripped of glamour, where every choice reverberates through the people left behind—most heartbreakingly Mooney’s wife Terry (played by Alana Haim ) and their two young sons. Scored to a restless jazz soundtrack by Rob Mazurek  and Chad Taylor , The Mastermind  is both melancholy and mischievous, an examination of how one man’s search for freedom ripples across others’ lives. In contrast to the real-life efficiency of those seven-minute Louvre thieves, Reichardt’s misfits remind us that freedom often comes at someone else’s cost—and that, sometimes, the greatest heist is simply getting away with ourselves. 🎟️ Screening Tickets The Mastermind The Mastermind is included in our Pay What You Can initiative 📅 Sunday 23 November, 5.15–7.15 pm 📍 The Poly, Falmouth 🎬 Director:  Kelly Reichardt

At the tail end of 2024, online film and pop-culture communities were shaken right to the core by the revelation that pop superstar Charli xcx had a public Letterboxd account, containing a seemingly exhaustive record of every film the Guess hitmaker has watched. As of September 2025, her page boasts an astonishing 1,250 different films viewed, as well as 499 direct diary entries recording the precise date of viewing - plus the occasional one-liner review in her trademark nonchalant snark. (via @itscharlibb ) Some might dismiss the account's contents as an inane collection of parasocial detritus, but fans certainly didn't think so - and neither did cinephiles. In fact, the account was a topic of fascination and even press attention over the the following days, with many taking the eclecticism of her viewing habits as just further credentials for her status as one of today's cutting-edge artists. Among her highest-rated films are beloved dramas ( Phantom Thread ), art-house classics ( Persona ), notorious exploitation films ( Funny Games ) and even the occasional family favourite ( Babe: Pig in the City ) thrown in as, presumably, a much-needed palate cleanser from the previous. The breadth of genres, languages and cultures represented on her page is considerable, and it's highly likely that some of her 284k followers on the platform have discovered entirely new favourite directors and movements simply because she happened to log a certain film on her diary one evening. A tap of a finger on Charli xcx's phone, and the 97-year-old silent classic The Passion of Joan of Arc enjoys yet another wave of cultural relevance. Launched in 2011, Letterboxd's popularity has soared over the past five years - due in no small part to the pandemic and the sudden abundance of idle time in its wake. The website's impressive 17-million-strong userbase includes rising stars Rachel Sennott , Jaeden Martell and Millie Gibson, as well as beloved directors Francis Ford Coppola, Sean Baker and Martin Scorsese. (via @mscorsese ) The brand has also become a much welcomed presence on red carpets, with industry titans chomping at the bit to declare their "Four Favorites". One particularly memorable interaction came early this year courtesy of Nicole Kidman, whose striking endorsement of the brand at Palm Springs International Film Festival cemented its exceptional cultural capital. "Letterboxd?! We LOVE Letterboxd!" - Nicole Kidman at Palm Springs International Film Festival (via @LetterboxdHQ ) A stroke of marketing genius, the Four Favorites gimmick simply asks Letterboxd users (and more recently, interviewees) to select any four films that encapsulate their taste – showcased in a neat little row via their posters. Some choose to exhibit their all-time top four, while others make a point of representing a different genre with each one. Some even select their top four less for the merit of the films themselves, and more for the immediate aesthetic value of their posters. While it may seem reductive to compress complex cinematic experiences into little more than digital trading cards – there's no denying that the Four Favorites is a hugely appealing shorthand for cinephiles to express their identity, especially if they can boast that they've sat through all 7 hours of Sátántangó . Another perk of the format is how easily it translates to short-form video content. Letterboxd's official channels regularly post clips of high-profile actors, directors and other industry professionals unveiling their own top fours – which are often met with fascination (and scrutiny) from cinephiles on social media. An especially intriguing top four came from none other than Murder on the Dancefloor hitmaker Sophie Ellis-Bextor who – in spite of the sunny family-oriented image she usually projects – selected two of the most harrowing parental horrors in existence: Don't Look Now and Rosemary's Baby . It certainly makes for an attention-grabbing and shareable clip – but more than that, it reveals another layer to Ellis-Bextor's star persona and, possibly, a new perspective for fans to interpret her music from. Sophie Ellis-Bextor declares her top four (via @LetterboxdHQ ) The past few years have seen mainstream social media platforms become, bewilderingly, increasingly hostile (and in many cases outright dangerous) to minority groups, and creative voices have seen our platforms shrink at a startling rate. In stark contrast to X (Twitter) and Facebook, Letterboxd still uplifts racial minorities , feminist perspectives and the queer community through its own newsletter - and while the site's userbase is certainly not immune to cyclical squabbles or petty oneupmanship, the likelihood of an individual's Letterboxd review being inundated with calls for their lynching remains, mercifully, low. If cinema is, as legendary film critic Roger Ebert said, " a machine that generates empathy ", the vast majority of the Letterboxd community appear to have picked up the message. In that case, choosing a "top four" becomes not a frivolous self indulgence – but a declaration of identity, values and connection to fellow human beings. It's little wonder that every progressive-leaning celebrity is vying to announce down Letterboxd's tricolour microphone that their Four Favorites happen to include Portrait of a Lady on Fire , Tangerine or Happy Together . As much as Charli xcx's sudden Letterboxd fame appeared to have come as a shock to her, she has since embraced fate and springboarded straight into the role of accidental film critic. On TikTok, she has begun posting roundups and off-the-cuff reviews of the films she has recently logged on her page – many of which are niche auteurist works from a range of time periods and cultural backgrounds. Charli xcx reviews Joachim Trier's upcoming film Sentimental Value (via @charlixcx ) Sure, these films would still exist if Letterboxd did not. However, what Letterboxd provides is a kind of connective tissue between films, creatives and viewers that has never really existed before. What may at first appear to be little more than an aesthetically-pleasing database is in fact a remarkably effective mechanism that encourages cinematic exploration and gives underappreciated films and filmmakers their moment in the sun. Whether the site will remain on the side of artists or veer irrevocably into to capitalistic greed remains to be seen – but for the moment, Letterboxd feels like the jolt of life that the cinematic art form desperately needs. Follow Mor Media on Letterboxd to discover our exclusive film reviews, curated lists, and the latest updates on Cornwall Film Festival 2025. Leon Hill is a BA Film student at Falmouth University and currently interning with Mor Media. You can follow their creative misadventures on Instagram ( @leonbeckerhill ) and read their film reviews on Letterboxd ( inlandecho ). #NicoleKidman #Letterboxd #CharliXCX #PalmSpringsInternationalFilmFestival #PhantomThread #Persona #FunnyGames #BabePigInTheCity #ThePassionOfJoanOfArc #RachelSennott #JaedenMartell #MillieGibson #FrancisFordCoppola #SeanBaker #MartinScorsese #SophieEllisBextor #DontLookNow #RosemarysBaby #PortraitOfALadyOnFire #Tangerine #HappyTogether #JoachimTrier #SentimentalValue #RogerEbert #MorMedia #CornwallFilmFestival #Cinephile #MovieLovers #FilmCommunity #IndieFilm #FilmCriticism #PopCulture #FilmFestival #QueerCinema #FeministFilm #CultCinema #CinemaLovers #FilmReview #TikTokFilm #SocialMediaCulture #FourFavorites #FilmDiary #MovieRecommendations

By Lola Milroy-Tompkins Recently online, a clip of Hayao Miyazaki, creator and animator of Studio Ghibli, has gone viral everywhere. In the clip, Miyazaki watches a demonstration of an AI-created figure, potentially used for zombie-like movements in films or videogames, and calls it ‘an insult to life itself’. This quote has become the slogan of a movement against AI’s presence in the arts and film, especially in animation. But what does AI have to do with Miyazaki, why are people so angry, and what could the future of use of AI in the arts look like? AI has only recently become relevant to the conversation around art, and other creative disciplines such as animation, film, and photography. GPT-4o, which is an AI similar to ChatGPT, has been released with the ability to generate original art pieces and animations, or to transform an uploaded photos into an art style. In response, hashtags such as #noai, #supporthumanartists, #standwithanimation have become viral on social media and making major UK newspaper’s headlines. But why are people so enraged? One main line of debate against AI’s presence in the arts is due to the methods used to train AI to output answers. In order to teach an AI how to “draw” or “write” or “compose”, thousands of examples of artwork and writing are scraped from the internet, without the consent of the creator, which infringes copyright. However, there are many holes within this argument. For example, don’t humans also copy other artists’ style in order to learn how to draw? Is art that is publicly available allowed to be used as learning material, and can AI actually learn ? In addition to this, AI can have real, negative implications for artists and producers. Being used to draw animated backgrounds, design characters, create marketing, and more, threatens the livelihoods of creative professionals across industries. At KQED news, it has been reported that arts students have reported being deterred from entering creative professions because of the employment instability that AI has created. Here, a second argument has been gaining traction, one which centres the sanctity of the artist that Hayao Miyazaki represents. Miyazaki’s iconic animation style holds nostalgia for millions of people. His films are famous for utilising hand-drawn animation techniques to create the beautiful and detailed scenes of Studio Ghibli. Howl's Moving Castle (2004), Studio Ghibli This animation style has been adapted by GPT-4o into an AI art filter, allowing users to upload photos and have them transformed into a Ghibli style piece. But when ‘Ghiblified’ images began to spread on social media, Miyazaki’s own words were used to fight back. At the core of Miyazaki's viral quote, ‘an insult to life itself’, is the belief that the core of art is the lives of humans, not the calculations of a machine. Where creators have spent lifetimes perfecting their craft, AI can only replicate its soulless corpse. The goal of the anti-AI movement is to centre the work of the human over their creation, in this case represented by Miyazaki’s commitment to traditional artistry in animation over Studio Ghibli’s superficial aesthetic. In the age where human efforts are quickly being replaced with technology, this calls into question, should the efficiency of a machine be prioritised over a person’s passion? One of the most important discussions of the debate will be where we go from here. If the answer is to stop AI entirely then we’re already too late. In the film industry especially, AI has been utilised by some of the biggest projects to release these past few years. Multiple Marvel films, Deadpool and Wolverine (2024), The Brutalist (2024) are just a few examples of major film successes which have employed AI to create special effects, facial animation and even making alteration to actor’s voices. For The Brutalist, AI was intended to cut down the 18-month post-production process, releasing the film in time to be nominated for 10 Academy Awards in 2025. What’s more, actors warn that AI will only get better and spread further. Although some producers, especially in animation, are consciously steering away from AI, the chance to stop its reach into film has passed. Furthermore, should we be stopping AI? Looking deeper into AI use in The Brutalist, the production team suggested that an ‘open discussion’ on what AI can offer would be beneficial, especially for producers on a tight time or budget scale. The visual effects of some iconic Marvel battle scenes and characters could not be achieved with traditional methods. However, the inclusion of AI is still very taboo in the film industry; Vanity Fair reported The Brutalist received significant backlash that endangered its Oscar nominations. But given the possibilities of AI, should this be the case? The benefits of AI don’t necessarily mean that it should be welcomed freely. Filmmakers, especially animators, have found its contributions unoriginal and have acknowledged the value of artists in their work by deliberately steering away from AI use. Many simply take joy in the screenwriting or animating process rather than outsourcing this to a machine. What most people agree on is the importance of balance in the use of AI. While it can obviously be amazing tool for to create new visuals, make the making and watching of film more accessible, it has the potential to cause catastrophic damage. Some have suggested the use of content filters, in which an AI can be programmed to refuse to create art or text in certain styles. Artist compensation schemes, similar to how musicians are compensated, is another way in which artists could receive credit for their work. While Miyazaki’s words are extreme, so is the significance of the arts to humanity. If my opinion isn’t already clear, freedom given to AI should be controlled, if anything to protect the next generation of filmmakers, artists and creators with a passion for their craft.

Ever wondered how your favourite films, series, documentaries, animations—or even that gripping drama on your streaming app—actually get made? Behind every screen success, there's someone (or often several people) quietly making it all happen: the producer . Whether it’s a short-form web series or a prime-time television show, a regional documentary or an international co-production, producers are the ones pulling the creative, financial, and logistical strings to bring stories to life. And this year at Cornwall Film Festival, we’re putting their role centre stage . For Cornwall Film Festival 2025, our Industry Focus  is all about PRODUCING —the beating heart of the screen sector that rarely gets the spotlight it deserves. What Does a Producer Actually  Do? Producers are the glue that holds everything together. They develop ideas, find funding, pull together creative teams, and manage everything from scheduling and contracts to distribution plans. They’re business-savvy, creative, diplomatic, and (often) a bit sleep-deprived. They work across film, TV, documentary, animation, and online content. They’re the first to get on board and often the last to leave. And yet, outside the industry, most people can’t tell you what a producer really does. This year at Cornwall Film Festival 2025, we’re changing that. Why Now? Producing focus at Cornwall Film Festival 2025 In a world of fast-evolving platforms, shifting funding models, and increasing demands for sustainability and representation, the role of the producer is more critical—and more challenging—than ever. We believe it's time to support a new generation of producers. Whether you’re just starting out or looking to step up, this year’s Industry Focus offers the tools, insight, and connections to help you take the next step. What to Expect We’ll be exploring every stage of the producing journey , from development and finance to production, delivery, and distribution. Some of the key topics include: How to turn an idea into a funded project Working with writers and directors Producing ethically and sustainably What it means to be a creative producer Pathways into producing for film, TV, and digital platforms The business side: budgets, contracts, and distribution Case studies of Cornwall-connected productions Expect in-depth panels , masterclasses , 1:1 surgeries , and career sessions  with some of the most exciting producers working in the UK today—plus networking events and a few surprises along the way, all at Producing focus at Cornwall Film Festival 2025 Local Roots, National Reach As always, we’re bringing it back to Cornwall. We'll highlight stories made in the region, producers based here, and the growing tallent in the screen sector. So, whether you’re a filmmaker who wants to produce your own work, a student curious about career paths, or someone who’s already producing and looking to level up— this year’s Cornwall Film Festival is for you . 📅 Stay tuned for programme announcements, speaker line-ups, and booking info coming soon. Read more on our Industry Partners Screen Skills site > #CFF2025 #ProducerFocus #CornwallFilmFestival

A closer look at director Sean Baker’s style, past works and approaches to filmmaking. Behind the Lens: Exploring Directors, Past Works, and Themes at Cornwall Film Festival American filmmaker Sean Baker has established an illustrious career through exploring stories that centre on marginalised groups of people. Recent popular works include The Florida Project (2017) and Red Rocket (2021) , and his latest feature Anora (2024) just won him The Cannes Film Festival Palme d’Or award. Over the past decade, he has crafted a range of films that cover the experiences of immigrants, sex workers and transgender people. In conversation with White Little Lies magazine, he explains that this focus on underrepresented people is “really a response to what [he’s] not seeing in films, especially American films.”  " I am trying to reach a large audience with these films in order for the message to have impact and for awareness to be brought to a certain subject. I am using style to capture a bigger and a younger audience." - Baker (LWL) In addition to social realism being prominent throughout his filmography, there’s also an undercurrent of his inundated commitment to telling these stories, shown in his thorough approach to filmmaking. For his fifth feature Tangerine (2015) , budget restraints resulted in Baker shooting the entire film on an iPhone 5s. But what might at first seem like a technical hindrance, Baker managed to use to his advantage in giving the film a more authentic, intimate touch. Following the story of two prostitutes on one desolate Christmas Eve, ‘unrestrained, Baker moves freely through the mania, trauma, dry humor, and sincere tenderness of their night’ (Interview).  And his perseverance didn’t stop there. Taking a very hands-on approach to the research process for Anora , Baker frequented the clubs where his protagonist, a sex worker from Brooklyn, might have worked. Joined by a team that included his wife and producer Samantha Quan and lead actress Mikey Madison, Baker visited these clubs in preparation before even writing the script. He recounted the experience with a degree of embarrassment, ‘I’m trying to do an interview while also having a lapdance, which is so ridiculous.” (The Guardian) Heavily involved in every single stage of production, Baker also edits all of his films. He told MovieMaker, ‘For my  kind of filmmaking, editing is 50 percent of directing. It’s such a strong signature on the film. You’re basically in charge of pacing; I literally rewrite in post-production. It’s the editor’s job to bring it home.’ Is there anything this man can’t do? Another interest of Baker’s is working with fresh faces and lesser-known actors as opposed to big Hollywood names. Aside from including a very recognisable Willem Dafoe in The Florida Project , Baker regularly opts for casting newcomers as his leads. His motives for this range from wanting the audiences to connect with the protagonists faster, hoping they ‘would believe the world if they saw a fresh face’ (LWL), to a personal hesitancy towards working with bigger stars. He confessed working with actors such as Jennifer Lawrence and Leonardo DiCaprio could be great, “but you never know. It could really derail a movie”. (The Guardian) "We need to see new actors coming up and getting opportunities." - Baker (LWL) Either way, one thing is for sure, Baker is passionate about connecting with audiences and making films that reflect all aspects of America. In an interview with IFFR, he noted ‘I feel the obligation to show the melting pot… So if I’m making a film that makes a statement about the United States and this era, it had better be all-inclusive.” Catch Anora screening tomorrow night and grab the last few tickets below. Anora on Tuesday 19th November 7:30 PM @ The Poly. #Anora #SeanBaker #TheFloridaProject #RedRocket #Tangerine #MikeyMadison #CFF24 #CornwallFilmFestival #ThePoly   #FalmouthWhatsOn   #BehindTheLens

12 November 2024 Dear colleagues and supporters, We are reaching out with an urgent appeal on behalf of the Cornwall Film Festival (CFF). The festival, now in its 23rd year, has become a vital part of the region's cultural and creative industry. But CFF is at a critical juncture, facing financial pressures that threaten its future. Without immediate, robust support, we risk losing this unique event that not only amplifies Cornish voices but enhances Cornwall’s reputation as a creative hub. To continue fostering talent, supporting our local screen industry, and providing economic benefits to Cornwall, we urgently need increased investment and sustainable funding. Driving Industry Development and Career Opportunities Cornwall Film Festival has served as a vital incubator for creative talent, connecting emerging and established filmmakers with industry professionals and career-building opportunities. In 2024, the festival has hosted networking events, masterclasses, and mentoring sessions, enabling attendees to gain practical insights and connections crucial for progressing in the screen industry. The importance of the festival’s role in fostering industry development cannot be overstated. CFF provides an invaluable platform for Cornish creatives to step onto the national and international stage. Investment in CFF is an investment in the future of Cornwall’s creative sector, helping to ensure that local talent has access to early career support and pathways to success. Strengthening Cornwall’s Community and Cultural Fabric Cornwall Film Festival is more than a cultural event. It's a network fostering inclusivity, representation, and community engagement. CFF’s commitment to accessibility—through pay-what-you-can tickets, outreach to remote areas, and diverse programming—ensures that film culture reaches all corners of our region. The festival unites diverse audiences, building community and cultural pride. However, without adequate funding, CFF’s ability to provide these community benefits is in jeopardy. The loss of such a significant cultural event would leave a gap in our community life and reduce opportunities for Cornish voices to be heard and celebrated. Economic Contributions and Potential Growth Cornwall Film Festival also plays a crucial economic role, attracting attendees from across the UK and beyond, which directly benefits local businesses, from hotels and restaurants to shops and service providers. The festival’s reputation has drawn the attention of the British Film Institute (BFI), which has invested in CFF as part of its mission to support film culture across the UK. This investment is a high accolade for Cornwall. By drawing attention to Cornwall as a centre for media and the arts, CFF drives tourism and showcases the region’s potential as a creative hub. In 2024, the festival’s expanded short film competition drew over 600 entries from 42 countries, indicating the international interest Cornwall can command with strategic support. The Path Forward: A Call for Urgent Investment We are calling on the Cornwall screen sector, Cornwall Council, and all supporters of the arts to recognise the Cornwall Film Festival as a critical cultural and economic asset. Immediate investment is essential to safeguard its future and expand on the key work already taking place. With your help, we can ensure that this festival not only survives but thrives. Sincerely, Louise Fox, Director Mor Media Charity

Funny, fierce, and feral, the female leads in Timestalker, Hard Truths and Nightbitch may face different hardships but their goal is one and the same: to break the cycle they're stuck in. Behind the Lens: Exploring Directors, Past Works, and Themes at Cornwall Film Festival Timestalker follows the hapless heroine Agnes as she is relentlessly reincarnated into different eras of history every time she makes the same mistake: falling in love with the wrong man. Despite Agnes’ wish for happy endings, she is instead faced with countless unlucky gory deaths, thus initiating the whole cycle to start over again a decade later. Alice Lowe stars and directs in this “hilariously silly” anti-romcom as our lead, taking us on this karmic journey of recognising the futility and ridiculousness of chasing ‘soulmate’ romance. Underneath the film's belly laughs and playful grim misfortunes, there's a “bittersweet layer of regret for the centuries of lost time women have devoted to the fantasy of eternal love” (BFI). In Mike Leigh’s Hard Truths, we are faced with a feisty lead character Pansy, an “overwhelmingly powerful female lead” (The Guardian) from Jean-Baptiste. Pansy is a woman who is angry with the world, angry with her family, and angry with her life which is full of nothing but cynicism and of course, anger. Her family and cheerful sister Chantelle long for Pansy to break free from this cycle of endless criticism but their interventions are often met with tense arguments and a rejection of their help. This contemporary drama is a poignant exploration of familial relationships and demonstrates the “terrible connection between depression and anger” (The Guardian). In conversation with Vanity Fair, Mike Leigh explained “It’s just about people. It’s about all of us in our good and less so good aspects. ” Jean-Baptiste does a flawless job of encapsulating the good and bad aspects of humanity in what is a “devastating, nuanced performance” (Vanity Fair). Blending together surrealism and seriousness, we have our third persevering protagonist in Nightbitch. Amy Adams stars as an unnamed “Mother” who is grappling with the demands of parenting, her loss of identity and the “animalistic urge to reclaim it” (The Hollywood Reporter). At first, she is desperate to escape the trap of domesticity but then slowly begins to embrace the power of motherhood, and in reclaiming it we see her morph into a dog. Yes, a dog. This film is a fun, ferocious and fearless exploration of motherhood and society's expectation that a woman must magically adapt to handling its chaos. Adams delivers an unrestrained performance and excels in a role which sees her succumb to being haggard, vicious and even sprouting actual fangs. Whether it's romantic love, a grudge against the world, or maternal confinement, these women are wanting out and fighting back. We look forward to seeing them reclaim both their freedom and their narratives in these relentless, fearless performances. Don't miss these screenings at Cornwall Film Festival. Grab your tickets below! Timestalker on Saturday 23rd November 5:00 PM @ The Poly. Hard Truths on Saturday 23rd November 7:30 PM @ The Poly. Nightbitch on Wednesday 20th November 7:30 PM @ The Poly. #Timestalker #HardTruths #Nightbitch #AliceLowe #MikeLeigh #MarielleHeller #CFF24 #CornwallFilmFestival #ThePoly   #FalmouthWhatsOn   #BehindTheLens

Andrea Arnold’s Bird and Jesse Eisenberg’s A Real Pain both share the notion that while family may be difficult, escaping them is even harder. Behind the Lens: Exploring Directors, Past Works, and Themes at Cornwall Film Festival Themes of belonging, self-discovery and difficult familial relationships are frequently present in the past works of both directors Andrea Arnold and Jesse Eisenberg. Through covering previous coming-of-age dramas, road movies, and their latest films of these genres, we are constantly faced with the reality that escaping your past may not be as simple as changing your scenery. Arnold is no newcomer to coming-of-age dramas, with work such as Fish Tank  (2010) and American Honey (2016) she has often focussed on the ‘ transition from childhood to adulthood, girlhood to womanhood’ (The Guardian). Her latest feature Bird explores a similar experience, following a stubborn pre-teen struggling to grapple with her turbulent, sobering homelife. Bird is set in a dilapidated apartment project in Gravesend, Kent, where lonely 12-year-old Bailey (Nykiya Adams) is surrounded by her dysfunctional family. Her reckless dad Bug, (Barry Keoghan) is fixated on impulsive plans to marry his girlfriend of three months, while Bailey’s rebellious brother Hunter is busy being a vigilante and instigating gang violence. It’s safe to say Bailey’s upbringing has been somewhat stormy. Her destiny for doom finds a glimpse of hope however when she meets the eponymous character Bird, a friendly figure who is on the search to track down his parents after being separated from them as a child.  This unflinching social realist drama is what Arnold is notorious for. After having received such high acclaim for Fish Tank, a gritty Essex teenage drama, her return to a small-city British council estate has been highly anticipated.  Bird ’s symbolism of flying free from the shackles of one's unstable environment is a theme that keeps cropping up in Arnold’s work. In Fish Tank , a girl is desperate to avoid following her mother’s unreliable footsteps and seeks a father figure. In American Honey,  we are on the road with a girl who has run away from home to escape her abusive father. We see these female protagonists in ‘environments where their freedom and privacy are often limited’ (Slant), yearning for a different life, separate from what and who they've always known. Bailey is no exception. Speaking of road trip movies, Eisenberg’s latest feature A Real Pain is just as much about self-discovery and navigating complex relationships, although from a mid-adult perspective. Sorry all, but it doesn’t look like these issues are reserved solely for adolescents. A Real Pain follows the story of two mismatched cousins as they embark on a road trip through Poland, to honour their Grandmother and learn more about her history. Through doing so, they are forced to reckon with their conflicting personalities and question if they’re better off without one another. This ‘finely tuned, melancholic and at times startlingly funny exploration of loss and belonging’ (New York Times) stars Eisenberg alongside Kieran Culkin and they deliver startling performances of two restless, searching men.  Unlike Arnold, Eisenberg is still fairly new to the game, with his directorial debut When You Finish Saving The World (2022) being his first stab at a coming-of-age drama. This movie also deals with the emotional complexities of a contentious relationship but between a teenage son and his mother. Eisenberg’s ‘cuttingly poignant and cyanide-sweet’ first film is certainly less chaotic and more gentle of an approach to the genre than Arnold’s contributions, but they both battle the constraints of family bonds in their own style.  Whether we’re on a heartfelt road trip through Poland or aimlessly stuck in a derelict town of South East England, A Real Pain and Bird both reveal the vastness of navigating relationships through different periods of our lives. They sensitively tackle the human contradiction of desiring a deep connection with your family, whilst simultaneously wanting nothing to do with them. Don't miss these screenings at Cornwall Film Festival. Grab your tickets below! A Real Pain screening at The Poly on Saturday 16th November @ 8:00 PM. Bird screening at The Poly on Friday 22nd November @ 7:15 PM. #BirdMovie #ARealPainMovie #AndreaArnold #JesseEisenberg #NikayaAdams #BarryKeoghan #KieranCulkin #CFF24 #CornwallFilmFestival #ThePoly   #FalmouthWhatsOn   #BehindTheLens

From heart to humour and now horror, Hugh Grant’s progression of roles proves his Heretic performance was nothing but inevitable. Behind the Lens: Exploring Directors, Past Works, and Themes at Cornwall Film Festival As we’ve all guessed from the creepy Heretic trailer , Grant’s character “Mr. Reed” may not turn out to be as welcoming nor friendly as first impressions may have deemed. What is even less surprising, is Grant’s ultimate arrival into the genre of horror. Over the years we’ve seen him in roles that are progressively less and less admirable and now the time for an unrestrained performance of the truly wicked has at last arrived. As we look back on his previous roles, you can see why it  “feels as if he’s been waiting for something like [Heretic] for decades" - The Guardian . Heartthrob Hugh Ah, the good old days. With his swoon-worthy roles in lighthearted romantic comedies such as Four Weddings and a Funeral (1994) and Notting Hill (1999), how could you not fall in love? Grant sauntered onto our screens as the classic leading love interest, delivering all things charm and charisma. Of course, these early rom-com roles required an edge of seriousness, imperative for delivering grand romantic gestures and scenes of lovers embracing. Heartless Hugh More wit. Less sober. Enter Daniel Cleaver. The characters from both Bridget Jones's Diary (2001) and About a Boy (2002) share a disregard and moodiness that Grant himself has been known to emit. Taking pride in his misanthropic personality, he's repeatedly confessed in interviews that he's grumpy and 'quite difficult these days' to work with. Unlike these flawed characters, Grant at least is incredibly self-aware of his crankiness, or as some would argue, his 'Britishness'. Unnafectionate but still loveable. This is just him warming up… Horrible Hugh Now we’re onto the good stuff. Grant’s roles here get a lot more playful with Paddington 2 (2017) and The Gentlemen (2019). Playing a seedy villain in the children's film and a corrupt investigator in Guy Ritchie's gangster movie, there is no denying these characters are downright bad people. But with comedy being prevalent in both, the performances were laced with a mischievousness that kept them light. Hugh having fun? We can hardly believe it. These films certainly gave him a taste of letting loose, firstly playing an animated baddie and then with The Gentlemen giving 'many usually serious stars a chance to lash out with silliness' - New York Post . Horrifying Hugh It was only a matter of time, wasn’t it? Grant has dove headfirst into the dark and twisted genre of horror in the new A24 release Heretic. From directors that brought us A Quiet Place (2018) and The Boogeyman (2023), we enter a sinister game of cat-and-mouse, with Grant playing the diabolical character of Mr. Reed. This holy horror has unleashed Grant in a ' performance of total freedom and what seems like genuinely giddy pleasure' ( The Guardian) as we see him oozing his trademark charming qualities, but now with a much darker and chilling spin to it. We always knew this day would come. On a recent episode of The Graham Norton Show, Grant explained his character choice for making Mr. Reed that much more unsettling, stating 'everything that's creepy will be doubly, trebly creepy if he's making jokes at the same time'. I guess there's no escaping Grant and his dry sense of humour. Don't miss Heretic screening at The Poly on Friday 22nd Novemeber @ 10:00 PM. Grab your tickets here! #Heretic #HereticMovie #HereticFilm #A24 #HughGrant #ScottBeck #BryanWoods #HughGrantRoles #ThePoly #FalmouthWhatsOn #CornwallFilmFestival #CFF2024 #BehindTheLens

Apply now and let your voice be heard! Are you a talented voice actor looking for your next exciting project? We're calling on all voice-over artists to lend their voices to an upcoming trailer! If you have great energy, we want to hear from you! Who are we ? The Cornwall Film Festival  is an Event run by Mor Media , a Charity that brings people together through our community programmes and runs media training & education in Cornwall. Enhances career prospects and deepens understanding with our Industry talks & masterclasses, and innovates with a year-round film programme. The Script: When you think of the Cornwall Film Festival, you might picture a world of independent films and filmmakers. But they are all a part of something much bigger. At the heart of it all is Mor Media, a charity dedicated to fostering creativity and culture to thrive in the digital age.  We're more than just a platform; we're a community.  We connect artists with audiences, amplifying their voices and bringing their stories to life. We discover and nurture the next generation of filmmakers,  providing the resources they need to explore new realities Mor Media Charity evolves our world through creative storytelling.  Championing diverse voices And sharing the unexpected. Together, we are a catalyst for change. Run time: 1 min Fee: Voluntary (credited) + some murch and VIP festival tickets How to Apply: Please submit a short recording using the script above on your phone and send it as a voice note/recording to info@cornwallfilmfestival.com (put Voice Over in the Subject heading) include your name and age Deadline: 5 pm Saturday 19th Record A PRO VOICEOVER On Your PHONE How to link Don't miss this opportunity to bring characters and stories to life with your voice! “🎬 The wait is over! Cornwall Film Festival 2024 is launching. Get ready for an unforgettable lineup of 50 films, immersive experiences, and exclusive Q&A sessions with filmmakers like Mike Leigh and Mark Kermode. From global premieres to local talent, this year’s festival is one you won’t want to miss. Grab your tickets—on sale Now #CornwallFF24 #CornwallFilmFestival #FilmFestival https://buff.ly/48q9s7T “🎬

Joined by BAFTA and Emmy Award-winning director Andy De Emmony for this week's interview as part of our Mor Media Meets  series. From beloved TV comedies like Father Ted  and Red Dwarf  to gripping dramas like Vigil  and his latest project The Feud  (coming to Channel 5 next year), Andy’s career spans genres and generations. He’s also directed star-studded feature films like Four Kids and It , Lovebite , and West is West , showing there’s no one better to share advice from his experiences directing! What film, TV show, podcast or book are you currently obsessed with? Ripley. What’s the funniest and/or most unexpected thing that’s happened behind-the-scenes during a shoot or event?  Filming with a parrot in a scene with several actors, who ever we pointed the camera at, the parrot would fly and sit on their head, scene stealing every shot. If you had the chance to go back in time and work on any film or TV show, which one would you choose? Dr Strangelove. What is one thing you have always wanted to try but haven't had the chance to yet? VR film making What first sparked your interest in the media industry? Sculpting and then prop making.  What was your first industry role? Puppet maker at Spitting Image. What’s the best piece of equipment you use in terms of value for money? My iPhone or the Sony FX3 What do you think are the biggest challenges facing the industry right now? Reduction in production and shrinking budgets. Is there any advice would you offer to someone just starting out in the media industry? Get tech savvy.  What one piece of equipment would you recommend for someone just starting out in the film industry? iPad and lots of the new image apps, from scanning to SketchUp to Previs. What qualities do you look for when selecting cast and crew for a project? Talent and personality in that order. How do you approach balancing artistic vision with commercial success in your work? Always relate your work to the audience.  Has there been a particularly memorable project you've worked on (good or bad) and what did you learn from the experience? Too many, I'm still learning in each job. Wipers Times was made with no money but lots of love. Clever problem solving wins the day.