DISCOVER DOCUMENTARY AT CORNWALL FILM FESTIVAL 2026 From the front lines of Gaza to climate activism to punk rock, our documentary programme brings extraordinary real-life stories to the big screen. Powerful, provocative, funny and deeply moving, these are films that challenge perspectives, celebrate remarkable people and spark conversations. AMERICAN DOCTOR WEDNESDAY 18 NOVEMBER | 7.30PM | THE POLY, FALMOUTH Three doctors. One oath. A devastating war. From Oscar-nominated director Poh Si Teng comes a powerful documentary following three American doctors, Palestinian, Jewish and Zoroastrian, who volunteer in Gaza's overwhelmed hospitals. What they witness compels them to take their fight far beyond the wards and into the corridors of power in Washington. An extraordinary story of courage, medical ethics and the personal cost of speaking out. WATCH THE TRAILER BOOK TICKETS WE, THE HATED THURSDAY 19 NOVEMBER | 5PM | THE POLY, FALMOUTH How far would you go for something you believed in? Director Rich Felgate takes us behind the headlines and roadblocks of Just Stop Oil, following four activists as they confront the personal consequences of civil disobedience. With remarkable insider access, this provocative documentary asks urgent questions about protest, power, democracy and what it really costs to take a stand. Official Selection CFF2026 WATCH THE TRAILER BOOK TICKETS BUGBOY SUNDAY 22 NOVEMBER | 3PM | THE POLY, FALMOUTH + SPECIAL SCREENING AT THE RITZ | MONDAY 9 NOVEMBER A boy, a bug and an unlikely friendship. Shy 16-year-old George finds connecting with people difficult. Following his parents' painful divorce, he retreats into the fascinating world of insects and forms an unlikely bond with a cricket named Isabella. A wonderfully warm, funny and tender coming-of-age documentary about friendship, difference and finding your place in the world. A Cornwall Film Festival Director's Pick presented as a UK preview. WATCH THE TRAILER BOOK THE POLY TICKETS | BOOK THE RITZ TICKETS DOCUMENTARY ON TOUR We're taking brilliant documentary beyond Falmouth, bringing inspiring, entertaining and thought-provoking films to audiences across Cornwall. ULTIMATE THUNDER SATURDAY 7 NOVEMBER | 2PM | WTW TRURO Britain's most punk rock band turns up the volume! Winner of the Sheffield DocFest 2026 Audience Award, ULTIMATE THUNDER is a joyful, loud and big-hearted documentary about six musicians making their mark on the punk scene. Five band members have learning disabilities, Down syndrome or autism, and their raw, improvised gigs have earned them a growing following. A funny, defiant celebration of friendship, resilience and the power of making noise together. Subtitled and autism-friendly screening. WATCH THE TRAILER BOOK TICKETS DEREK VS DEREK FRIDAY 13 NOVEMBER | 7PM | MABE VILLAGE HALL Two neighbours. Two very different visions for the countryside. Infamous rewilder Derek Gow and traditional farmer Derek go to war over the future of their land in this funny and timely documentary. One is an advocate for intensive farming; the other is giving his entire farm back to nature. Tempers fray, wild animals escape and the two Dereks butt heads over what the English countryside should look like and who gets to decide. A brilliantly entertaining look at one of the most urgent debates facing our countryside. WATCH THE TRAILER BOOK TICKETS NO TREES, NO SEAS + Q&A FRIDAY 13 NOVEMBER | 7.45PM | THE POLY, FALMOUTH What if the key to saving our seas lies in our forests? A surfer's search for what is killing our seas leads him deep into the forest, uncovering an ancient truth: that the key to healing our oceans lies on the land. Presented by surfer and environmentalist Sam Bleakley, this inspiring Cornish documentary reveals the extraordinary connections between woodlands, rivers and oceans, and how bringing back our forests could help restore nature both on land and at sea. Part of the ambitious No Trees No Seas campaign, driven by Plant One CIC, to create 500 hectares of fish forests across Cornwall. PLUS A SPECIAL Q&A WITH SAM BLEAKLEY AND GUESTS. BOOK TICKETS COME FOR THE FILMS. STAY FOR THE CONVERSATION. Documentary is at its best when we experience it together. Join us this November for remarkable stories, fresh perspectives and films that stay with you long after the credits roll. EXPLORE THE FULL FESTIVAL PROGRAMME & BOOK TICKETS Thank you for supporting the CORNWALL FILM FESTIVAL 2026 Specialising in antiques, fine art and collectables since 1978, Lay’s brings expert knowledge and a passion for remarkable objects to buyers and sellers in Cornwall and beyond. Visit Lay’s Auctioneers Proud supporter of The Cornwall Film Festival Mor Media Charity t/a Cornwall Film Festival Company no. 5186603 Registered as a charity in England and Wales, no. 1126161 Sign up today

An ambitious programme of international premieres, acclaimed filmmakers, competition shorts, premier feature selections and special events across Cornwall this November. Cornwall Film Festival returns this November with one of its most ambitious programmes yet, bringing internationally acclaimed cinema, Oscar and BAFTA-winning talent, industry professionals and emerging filmmakers together for a celebration of film across Cornwall. Running throughout November, with its main festival week from 16–22 November at The Poly in Falmouth, the 24th edition combines major international features, documentaries, short films, immersive experiences, a young people's programme, music and industry events. The festival opens with I See Buildings Fall Like Lightning, the fifth feature from acclaimed British director Clio Barnard. Other highlights include Tender Loving Care from festival patron and Oscar-nominated director Mike Leigh, Only What We Carry from Jamie Adams, and Josephine, alongside Fatherland from Oscar-winning filmmaker Paweł Pawlikowski, Wild Horse Nine from Martin McDonagh, The Debut from Jesse Eisenberg and Hope from Na Hong-jin. The programme also features La Bola Negra, The Education of Jane Cumming, alongside documentaries including Bug Boy, American Doctor, and Cornish environmental documentary No Trees, No Seas. The Just Stop Oil doc We, The Hated and iconic classic Rocky. From established masters of cinema to distinctive new voices, the festival offers audiences an opportunity to discover extraordinary films on the big screen. Dedicated programmes showcase 54 shortlisted short films in international, UK, regional, student and experimental filmmaking, including Cornish & South West tallent in BEST OF THE WEST, FRESH and INTERMISSION, including THEY, directed by Oscar-winning actor Renée Zellweger. CORNWALL FILM FESTIVAL ON TOUR takes cinema beyond Falmouth, with screenings and events in Penzance, Truro and community venues across Cornwall including Mabe, Redruth & Saltash. Working with local film societies and cultural partners, the festival continues its commitment to making independent cinema accessible to audiences across the county. INDUSTRY DAY | THURSDAY 19 NOVEMBER | THE POLY One of the South West's key screen industry gatherings, Industry Day brings Oscar and BAFTA-winning filmmakers, leading industry professionals, funders and creative decision-makers to Cornwall. The programme offers practical insights into funding, career development, making ambitious films and finding audiences, alongside Made in Cornwall, networking and small-group industry surgeries. Beyond the screen, the festival welcomes acclaimed film critic Mark Kermode and Jenny Nelson for The Stories of Movie Music, alongside Drop the Needle, immersive sound experiences, filmmaker mixers, animation workshops and family events. Schools and young audiences are also at the heart of the programme through free Into Film screenings and creative learning opportunities. Festival Director Louise Fox said: "This is one of our most ambitious programmes, bringing extraordinary international cinema and some of the industry's most celebrated creative voices to Cornwall. We're creating opportunities for audiences to discover films they might never otherwise see, while connecting emerging filmmakers with Oscar and BAFTA-winning professionals. It's about celebrating the power of cinema, supporting new talent and making Cornwall a place where the film industry comes together." TICKETS AND VENUES The festival takes place at The Poly, Truro Plaza, the Ritz Penzance, King Charles Hall, and community venues across Cornwall. Standard tickets at The Poly are £8.50, £7 for seniors and £5 for under-25s and concessions. Short film programmes offer Pay What You Can tickets from £2. Three-film, five-film passes are available, with selected special screenings priced separately. FULL PROGRAMME AND BOOKING Festival Programme Book Tickets Industry Day ENDS NOTES TO EDITORS Established in 2002, Cornwall Film Festival is a BIFA and Grierson-accredited festival delivered by Mor Media Charity, championing independent cinema, creative talent, education and access to film across Cornwall and the South West.

Cornwall-based charity selected as one of just 12 UK organisations to deliver specialist screen industry training for young people. NATIONAL OPPORTUNITY. CORNWALL DELIVERY. INDUSTRY FUTURES. Mor Media Charity is delighted to announce that it has been awarded a new three-year programme through BFI Film Academy Training Courses, supported by the National Lottery and the Department for Culture, Media and Sport (DCMS). The award will see Mor Media deliver an exciting new residential training programme specialising in Sound and Sound Design for film and television, creating opportunities for young people aged 18–22 to develop professional skills, gain industry insight and explore careers in the screen industries. A NATIONAL PROGRAMME WITH LOCAL IMPACT Mor Media is one of just 12 organisations selected across the UK to deliver BFI Film Academy Training Courses. Together, these programmes will provide 295 young people each year with in-depth introductions to specialist occupational fields within the screen industries, representing a 70% increase in training places compared with previous years. By extending the age range to 18–22, BFI Film Academy is opening up new opportunities for young adults of working age, particularly those looking for alternatives to traditional higher education routes. For Mor Media, this represents an important milestone in its commitment to developing creative talent in Cornwall and connecting young people with the national screen industry. SOUND & SOUND DESIGN: DISCOVER THE WORLD BEHIND THE SCREEN Sound is one of the most powerful creative tools in filmmaking. From recording dialogue and creating atmospheric soundscapes to Foley, sound editing and the final mix, sound shapes how audiences experience stories. Our new programme will introduce participants to the creative and technical disciplines of sound production and post-production through practical workshops, professional demonstrations, collaborative projects and industry-led learning. At the heart of the programme is an intensive seven-day residential experience in Cornwall, supported by additional online learning and professional development opportunities. Participants will have opportunities to: Explore location sound recording, Foley, sound editing and sound design. Work with professional sound equipment and industry-standard approaches. Learn directly from experienced film and television practitioners. Develop creative and technical skills through collaborative practical activities. Discover career opportunities within sound production and post-production. Build professional networks, confidence and an understanding of routes into employment. The residential format also creates space for evening screenings, informal industry conversations, networking, peer learning and individual reflection. OPENING DOORS TO THE CREATIVE INDUSTRIES At Mor Media Charity, we believe that talent is everywhere, but opportunity is not. For young people living in Cornwall and other areas outside major production centres, access to specialist training, professional networks and industry experience can be limited. This programme aims to change that. By bringing high-quality industry training to Cornwall, we want to remove barriers to participation and create meaningful pathways into the screen industries for young people who may not otherwise have access to these opportunities. The programme will place particular emphasis on accessibility, inclusion and supporting young people who are not currently in full-time education. It builds on Mor Media's wider education and talent development work, including Cornwall Film Festival, creative careers pathways, internships, mentoring and industry engagement. SUPPORTED BY INDUSTRY, INSPIRED BY OPPORTUNITY The programme will draw on Mor Media's established relationships with film and television professionals, specialist practitioners and its industry advisory network. These connections are central to our approach, ensuring young people can learn directly from professionals working across the screen industries, gain valuable insight into current industry practice and begin building networks that can support their future careers. Louise Fox, Director of Mor Media Charity, said: "We're incredibly proud to have been selected to deliver this national programme. At Mor Media, we've always believed that where you live or the route you've taken through education shouldn't determine your opportunities in the creative industries. "Sound and Sound Design is an extraordinary combination of creativity, storytelling and technical skill, and we're excited to bring this specialist training to Cornwall. "We're incredibly fortunate to be supported by our brilliant industry advisory network, whose experience, generosity and connections help us bridge the gap between emerging talent and the professional screen industries. Their support, alongside our industry partners and practitioners, will be invaluable in creating a programme that is ambitious, relevant and genuinely connected to the world of work. "Ultimately, this is about opening doors, building confidence and giving young people the opportunity to imagine and pursue careers that might previously have felt out of reach." BUILDING THE NEXT GENERATION OF SCREEN TALENT Over the next three years, Mor Media plans to support up to 30 young people annually through this specialist programme, connecting emerging talent with professional practitioners and industry opportunities. As a Cornwall-based charity with a growing national network of creative industry partners, we are excited to play a part in developing the next generation of screen professionals. This award marks an exciting new chapter for Mor Media Charity, strengthening our role as a bridge between creative education, professional development and the screen industries. WHAT HAPPENS NEXT? We are currently developing the programme with industry partners, with the first residential provision planned for spring 2027, subject to final arrangements. Further information about eligibility, applications, course dates, bursary support and how to get involved will be announced soon. Interested in a career in film sound? Keep an eye on Mor Media's website and social channels for updates. BFI Film Academy Training Courses are supported by the British Film Institute (BFI), with funding from the National Lottery and DCMS @britishfilminstitute @nationallotterygoodcauses @dcmsgovuk

A creative space only works when people feel safe enough to take part. That is true in a cinema queue, a workshop room, a community screening, a volunteer shift, a trainee session, and every online space connected to our work. At Mor Media Charity, our purpose is to bring people together through media, events, training, and community engagement. We create places where stories can be shared, skills can be learned, and people across Cornwall can connect through film and culture. That work depends on trust. Staff, freelancers, volunteers, trainees, artists, audiences, partners, suppliers, and visitors all help shape the atmosphere around our events and programmes. We want that atmosphere to be welcoming, inclusive, and respectful for everyone. In line with updated UK employment laws coming into effect on 30 October 2026, Mor Media Charity is reinforcing its commitment to protecting staff, freelancers, volunteers, and trainees from harassment by third parties. This includes audiences, event guests, suppliers, vendors, contractors, and members of the public. This article sets out what that commitment means in practice, what we expect from everyone who takes part in our activities, and how our community can help keep creative spaces safe. Safe cultural spaces are built before the audience arrives. Why safe creative spaces matter Mor Media Charity exists to connect people through stories, learning, and shared cultural experiences. That work can be joyful, inspiring, and sometimes deeply personal. A film screening might bring people together around difficult subjects. A workshop might ask participants to try something new in front of others. A trainee may be building confidence while learning technical skills. A volunteer may be welcoming members of the public, answering questions, or helping a busy event run smoothly. In all of these settings, people need to know that respect is not optional. Harassment, discrimination, intimidation, abuse, or inappropriate behaviour can quickly damage the trust that makes creative work possible. It can leave people feeling unsafe, unheard, or unable to do their role. It can also silence voices that should be part of the cultural life of Cornwall. That is why Mor Media Charity Strengthens Safe Respectful Spaces for Everyone is more than a statement. It is a clear standard for how people are expected to behave when they engage with our events, training, projects, venues, and digital spaces. Our team works hard to deliver high-quality cultural experiences and educational programmes. Every person involved in that work has the right to do their job without facing harassment from anyone. Our commitment to staff, freelancers, volunteers, and trainees Mor Media Charity stands firmly behind the people who deliver our work. That includes: Staff working across events, operations, programming, training, communications, production, and community activity Freelancers supporting creative, technical, educational, and event delivery Volunteers helping audiences, guests, and participants feel welcome Trainees learning new skills and gaining experience in media and cultural work Each of these people deserves to be treated with dignity. Our commitment is simple: nobody should be expected to tolerate harassment as part of their role. This applies whether the behaviour comes from someone inside an event, a member of the public, a guest speaker, a supplier, a vendor, a participant, or someone engaging with us online. It also applies across the full range of Mor Media Charity activity, including live festivals, screenings, training workshops, community sessions, and digital platforms. Everyone has the right to contribute to creative and cultural work without facing discrimination, abuse, or inappropriate behaviour. This commitment includes practical support. Team members have our backing to remove themselves from any situation where they feel unsafe, targeted, or disrespected. No one should feel pressured to remain in a conversation, exchange, or public-facing role when behaviour crosses a line. What third-party harassment can look like Third-party harassment is harassment carried out by someone who is not part of the organisation’s staff structure but interacts with the organisation’s workers or representatives. In the context of Mor Media Charity, this could include behaviour from: Festival-goers Event guests Workshop participants Suppliers Vendors Contractors Partner organisations Members of the public People engaging through online platforms Harassment can take many forms. It may be verbal, physical, written, visual, or digital. It may happen once, or it may form part of a pattern. Examples may include: Discriminatory comments or slurs Sexual comments, gestures, or unwanted attention Aggressive or threatening language Intimidation or bullying Repeated unwanted contact Mocking someone’s identity, background, disability, accent, appearance, age, faith, gender, sexuality, race, or personal circumstances Abuse directed at someone doing their role Inappropriate behaviour in a workshop, screening, event queue, venue, or online space Some behaviour may be clearly abusive. Other behaviour can still cause harm even if someone claims they “didn’t mean it that way”. The impact on the person receiving the behaviour matters. For Mor Media Charity, the standard is not only about avoiding extreme incidents. It is about building spaces where respect is normal, kindness is expected, and people feel able to speak up when something is wrong. Clear expectations help everyone know how to take part respectfully. Our zero-tolerance approach Mor Media Charity operates a strict zero-tolerance policy towards harassment in all spaces connected to our work. This means harassment is not dismissed as banter, part of the job, a misunderstanding to ignore, or something people should simply put up with during a busy event. If behaviour is abusive, discriminatory, threatening, sexually inappropriate, intimidating, or disrespectful, it will be taken seriously. Our zero-tolerance approach applies across: Live festivals and screenings Training workshops and learning environments Community projects and events Volunteer spaces Partner activity connected to our work Digital platforms and online engagement Zero tolerance does not mean every situation will look the same or be handled in the same way. It means the principle is consistent. Mor Media Charity will not accept harassment as part of its culture. Where needed, action may include asking someone to stop their behaviour, removing a person from a space, ending an interaction, limiting further contact, or taking other steps to protect the people affected. The priority is safety, dignity, and respect. Active support means our team can step away Public-facing arts and charity work can ask a lot of people. Staff and volunteers often manage queues, greet guests, assist speakers, answer questions, support access needs, solve problems, and respond to last-minute changes. Freelancers and trainees may be working in new environments or under time pressure. No one should have to balance those demands while also absorbing harassment or abuse. Mor Media Charity gives team members our absolute backing to remove themselves from any situation where they feel unsafe or disrespected. That matters because people can sometimes feel they must stay polite, stay available, or keep serving a person even when the interaction becomes harmful. We want our team to know that their safety comes first. Active support can include: Taking a break from an interaction Asking another team member for help Moving to a safer area Ending a conversation Reporting an incident Seeking support after something has happened Escalating a concern during an event or activity A respectful event culture is not built by asking individuals to endure poor behaviour quietly. It is built by making clear that the organisation will support them when they set boundaries. Shared respect is part of taking part Mor Media Charity’s work depends on community. Every audience member, workshop participant, partner, supplier, artist, volunteer, and guest contributes to the tone of a space. Shared respect means thinking about how behaviour affects others. It means listening when someone asks for space. It means accepting boundaries. It means recognising that public cultural spaces include people with different backgrounds, needs, identities, experiences, and ways of communicating. At our events and activities, we ask everyone to help create an environment where people can: Attend without fear of abuse Work without being harassed Learn without being belittled Ask questions without being mocked Share ideas without being targeted Participate without discrimination This applies in person and online. Digital spaces are still real spaces, and words shared online can affect the people who receive them. Respectful behaviour is expected across comments, messages, emails, forums, and any other digital contact linked to our work. Training spaces work best when people can learn with confidence. What this means for audiences and participants For festival-goers, workshop participants, guests, and members of the public, this commitment should feel clear and reassuring. It sets a shared expectation before anyone enters a screening, joins a session, attends a festival event, or contacts us online. Everyone is welcome when they engage respectfully. That means: Treat staff, freelancers, volunteers, trainees, artists, and other participants with courtesy Follow event guidance and venue instructions Respect personal space and boundaries Avoid discriminatory language or behaviour Do not make sexual comments or unwanted personal remarks Do not intimidate, threaten, shout at, or abuse people Accept decisions made to keep an event safe Raise concerns calmly with an appropriate team member Creative spaces can involve debate, strong feelings, and different views. Respect does not mean everyone must agree. It means disagreement should not become personal abuse, discrimination, or harassment. What this means for partners, suppliers, and vendors Mor Media Charity values the partners, suppliers, vendors, and community organisations that help make our work possible. Collaboration plays a major role in delivering festivals, training, events, and cultural programmes across Cornwall. The same standards apply to those relationships. Everyone working with us is expected to behave respectfully towards Mor Media Charity staff, freelancers, volunteers, trainees, participants, artists, audiences, and other partners. That expectation applies before, during, and after an event or project. Respectful partnership includes: Clear and considerate communication Safe behaviour on site Respect for boundaries and roles No discriminatory, abusive, or intimidating conduct Prompt action if a concern is raised Support for the shared safety of the event or activity This is not about creating distance between people. It is about making collaboration safer and clearer. When standards are understood, people can focus on the work they came together to do. Building an inclusive culture across Cornwall Mor Media Charity’s work is rooted in Cornwall, but the principle reaches far beyond one venue, festival, or workshop. Cultural spaces shape who feels able to join in. They influence who gets to learn, lead, create, volunteer, and be seen. A safe and respectful environment does not happen by accident. It grows through everyday choices: how people greet each other, how concerns are handled, how boundaries are respected, how access needs are met, and how quickly harmful behaviour is challenged. For a charity working through film, media, events, training, and community engagement, inclusion must be practical. It must show up in the way people are treated when they arrive, when they ask for help, when they make a mistake, when they raise a concern, and when they do the often unseen work that keeps programmes running. That is why this strengthened commitment matters. It gives our team confidence. It gives participants clarity. It gives partners a shared standard. It tells our wider community that safety and respect sit at the centre of our work. A respectful welcome begins at the door and continues through every interaction. A shared responsibility to keep spaces safe Mor Media Charity is reinforcing this commitment because our people matter. Staff, freelancers, volunteers, and trainees are central to everything we deliver. They should never have to face harassment, discrimination, abuse, or inappropriate behaviour while doing their work. We also know that safe spaces are built collectively. Policies set the standard, but people bring that standard to life through their actions. So we ask everyone who engages with Mor Media Charity to join us in maintaining creative spaces built on mutual respect and kindness. That means looking out for one another. It means taking care with words and actions. It means accepting boundaries. It means understanding that a festival, screening, workshop, or online space works best when everyone can take part without fear of being targeted or mistreated. Thank you for your continued support in keeping Mor Media Charity a safe, respectful, and inspiring space for all.

Mor Media Charity and Cornwall Film Festival have secured a three-year award from Film Hub South West's Film Exhibition Fund to support a major programme aimed at improving access and inclusion across cinema and film events in Cornwall. The award, over three years (2026-2029), will support the delivery of the charity's Screen Access & Inclusion Programme, helping to remove barriers faced by disabled and underserved audiences and ensuring more people can experience film in welcoming and accessible environments. The multi-year investment recognises Cornwall Film Festival's long-term commitment to accessibility, audience development and inclusive practice, and provides a foundation for continued innovation and sector leadership. The funding panel described the proposal as one of the strongest applications received during the round, praising its strategic clarity, deep understanding of audiences and comprehensive approach to accessibility. Assessors highlighted that accessibility had been embedded throughout programme design, audience engagement, delivery and evaluation, rather than being treated as an additional consideration. Louise Fox, Executive Director of Mor Media Charity and Festival Director of Cornwall Film Festival, said: "We are delighted to receive this support from Film Hub South West. Accessibility has always been central to our work and this investment will allow us to build on the progress we have already made. The investment is a huge vote of confidence in our vision, accessibility is not something we add on, it sits at the heart of everything we do. This support will help us strengthen partnerships, develop new approaches and continue creating welcoming cinema experiences for audiences who are too often excluded from cultural provision." The programme builds on several years of audience development work undertaken by Cornwall Film Festival under the umbrella of Mor Media Charity, including autism-friendly screenings, enhanced accessibility provision, community partnerships and targeted work with young people and underrepresented communities across Cornwall. Neil Ramjee, Film Hub South West Community Manage, said: “The assessment panel also recognised the strength of the charity's regional partnerships and the potential for the programme to deliver lasting impact beyond Cornwall, establishing a model of good practice that can inform the wider exhibition sector” The BFI Film Audience Network invests £5.6m of National Lottery funding each year to expand access and encourage greater enjoyment of cinema by connecting audiences with great films - in venues, at events and online. We do this by supporting: leading exhibition organisations, including film festivals, to deliver culturally rich and nationally significant programmes and events on a year round basis projects which help exhibitors and distributors bring the best of UK and international cinema to audiences across the UK through events, distribution releases, multiplatform distribution proposals, touring film programmes and more initiatives that address under-representation and are innovating audience development

UK-based screen charity Mor Media has appointed filmmaker Clare Tavernor as Creative Lead, formalising a long-standing collaboration as the organisation scales its production ambitions. Clare’s background spans documentary filmmaking, including directing and producing flagship BBC arts series such as My Life as a Rolling Stone, as well as ambitious cinema releases including Metallica Saved My Life. Most recently, she co-directed Aldeas – A New Story, an upcoming feature documentary produced by Martin Scorsese. “Aldeas is about creating space for people to tell their own stories through film,” said Clare. “That idea of authorship and collaboration is central to how I approach filmmaking, and it aligns strongly with Mor Media’s ethos.” “Taking on the Creative Lead role feels like a natural evolution of the work we’ve been building together,” she added. “There’s a real opportunity to develop ambitious, distinctive projects from the South West that connect with national and international audiences, without losing their sense of place.” Clare, who has been working across a number of Mor Media’s recent projects, will now oversee creative development across a growing slate spanning film, audio and immersive storytelling. The appointment marks a strategic shift for the Cornwall-based organisation as it evolves from a festival-led model into a year-round production and talent development hub. “Clare has already been instrumental in shaping the creative direction of our work,” said Louise Fox, Executive Director of Mor Media. “This appointment reflects both the depth of that collaboration and our ambition to build a distinctive, regionally rooted but nationally relevant production pipeline. Clare is part of a growing cohort of senior industry professionals choosing to work with us as we expand our production slate and creative vision, alongside a growing network of industry advisors.” Clare is currently leading on Black Tide, Mor Media’s flagship heritage and environmental storytelling project exploring the legacy of the SS Torrey Canyon disaster. The multi-platform project combines documentary, oral history and audio storytelling, and has already attracted industry attention, including a recent shortlist at Sheffield DocFest’s Podcast Pitch. As Creative Lead, Clare will guide projects from early development through to production, working closely with writers, directors and emerging creatives supported through Mor Media’s training programmes. Mor Media is developing a joined-up model that connects exhibition, distribution, talent development and production. Through events such as the Cornwall Film Festival, the organisation identifies emerging talent and supports progression through mentoring, development and industry-facing opportunities. This approach is already delivering results, with talent pipeline participants including Soup Audio Visual achieving national recognition, including success at the Wildscreen Panda Awards, with more project in the pipeline. Clare will play a key part in connecting these strands, ensuring that creative development is embedded within live projects and that emerging filmmakers are supported through to production. The move signals a broader trend among UK regional organisations building in-house creative capacity to retain talent and develop original IP outside London-centric structures. With funding applications in progress and new partnerships forming across the South West and beyond, Mor Media’s expanded creative leadership points to a more ambitious phase, one that bridges community storytelling with professional production at scale.

By Director Louise Fox January – March 2026: A Strong Start to the Year The first three months of 2026 have been an incredibly productive and forward-looking period for Mor Media Charity, as we continue to expand our work across film, heritage, education and talent development in Cornwall and beyond. 🎬 Film Exhibition & Touring We have been progressing plans for the Edge of Summer  regional tour, with screenings and director Q&As now being scheduled across the South West. Following a complex journey to bring the film to audiences, this marks a significant milestone in connecting a locally rooted Cornish story with wider audiences. We are also laying the groundwork for a potential independent distribution strand , using this tour as a pilot model, with projected reach across screenings expected to exceed 350+ attendees Alongside this, we have been developing a new Cornwall Film Festival website , making it easier for audiences, filmmakers and partners to access and engage with our year-round activity. Supported 3 film tours  with Q&As and marketing support, strengthening regional exhibition. 🏛️ Heritage & Community Projects Our Black Tide: The Torrey Canyon Project  continues to gather momentum as we mark the 60th anniversary of the 1967 oil spill. 25 oral histories  recorded to date Recent engagement activity delivered across West Penwith , including work with U3A groups, libraries and the local lifeboat stations Ongoing partnerships with community organisations and heritage networks across Cornwall Development of a new project website , designed to communicate and share the archive more widely This work is building a vital, community-led archive that centres lived experience and ensures Cornish voices are at the heart of this nationally significant story. 🎓 Talent Development & Industry Programmes We have been advancing our Creative Challenge Fund  programme, alongside wider talent development activity. Programme design completed with a target cohort of 14 participants  across Cornwall, Devon and the wider UK 25 participants  engaged through Story Labs exploring writing and visual storytelling 329 submissions  received to date, with 95 pre-selector applications  supporting our programming pipeline Launch of Quick Cut: The 90-Second Film Challenge , creating new entry points for emerging filmmakers Our activity engaged 6 freelancers, strengthening regional employment and the creative economy. Together, these strands are strengthening pathways for creatives at all stages of their careers and supporting a more diverse and connected screen ecology. 🎓 Education & Audience Development We have continued to deliver education and audience engagement activity across the region: Delivered the Into Film Spring Festival across 3 venues in Cornwall 2 animation workshops  delivered for Animate Helston 5 screenings  hosted, supporting access to independent film and shared viewing experiences Our team's attendance at the Berlin Film Festival , building industry connections and insight This work supports the development of creative skills while building future audiences for independent cinema. 🏛️ Advocacy & Sector Leadership We have been actively advocating for the independent cinema sector in response to the Government’s £1.5 billion investment in culture. Direct engagement with MP-level stakeholders Coordinating input from independent cinemas across Cornwall Active participation in the British Arts Festival Association , including conferences and sector meetings Contributing to national conversations on cultural infrastructure, access and regional equity This work positions Mor Media as a strong regional voice within national policy discussions. 🤝 Partnerships, Funding & Growth This quarter has also been a period of significant organisational growth and consolidation. Successful funding applications secured , supporting future programme delivery and sustainability Partnerships strengthened across 10+ organisations  spanning exhibition, heritage, education and industry Continued expansion of our networks locally and nationally Strengthening Impact and Reach These developments are helping to secure Mor Media’s long-term growth and impact. Looking Ahead As we move into spring, we are excited to bring these strands together through live events, screenings and new programme launches. With strong foundations in place, 2026 is shaping up to be a year of growth, connection and impact. We are grateful to our partners, collaborators, team, audiences, Trustees and advisors, whose support makes this work possible, and we look forward to a well-earned pause before the next phase.

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.

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