23/24 Film Schedule

The Holdovers – 8th July 2024

Monday 8th July ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 133 mins. 2023.

Directed by: Alexander Payne

Written by: David Hemingson

Starring: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa

‘A genial, gentle, redemptive dramedy from Alexander Payne’ – The Guardian

‘Nostalgic, funny, moving and thought-provoking’ – BFI

No Introduction Given
Feedback Review

Just under a half of the audience filled in and returned a Feedback Form. There were no scores below 3 and two markings were given for that middle score. A fifth of respondents gave it a 4 score and the rest gave it a 5; of which two respondents penned in a 6 by hand.

The two individuals giving the film a 3 liked it but with caveats such as, “A poignant film not really a comedy but [the] main actor held the film together”.

Of those giving the film a 4 score, they liked it a lot but also took on board the pains disclosed in each character’s past life as the film progressed. Comments were made such as, “Charming film – humour – but dealing with loss, grief also great acting.  A bit American schmaltzy”.

Top scores of 5 were made by those much taken with the film and especially the perceived high (ie. “Great”) quality of the acting. Comments were made such as, “This was a lovely film and the Human family was well shown”, “Heartwarming, perfect balance of wittiness and seriousness. Couldn’t have been better” and “Jolly good film”.

Clearly this was a film that the audience had enjoyed the experience of watching and been warmed by.

All of Us Strangers – 10th June 2024

Monday 10th June ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 106 mins. 2023.

Written and directed by: Andrew Haigh

Based on Strangers by Taichi Yamada

Starring: Andrew Scott, Paul Mescal, Jamie Bell, Claire Foy

‘Heartbreaking but essential viewing’ – Rolling Stone

‘Overwhelmingly powerful’ – inews.co.uk

Introduction Given on the Night, Written & Presented by Phil Ray

The film’s director, Andrew Haigh, had wanted to tell a story for some time about how romantic love and familial love are connected, and how that for him it was complicated by the fact that a lot of people, especially from his generation, had a difficult relationship with both the understanding of their sexuality and the family’s role within that realization. “Love is the centre of Adam’s story. With both his parents and with Harry, love is about feeling seen” he’s said.

Haigh, who’s 50, grew up coming to terms with his sexuality as people were dying of AIDS, a time also when 75% of the UK population thought homosexuality was “always” or “mostly” wrong, and as a young man he admitted to feeling traumatised by that environment and that he might not have a future to look forward to. “We felt like we would not be able to be gay and be in a relationship without putting our lives on the line”, he said in an interview.

His early experiences brought about an emotional isolation not just to Haigh but a whole community and it manifests itself in a number of ways within the film: From the beginning I wanted everything that the audience saw to be a manifestation of the main character’s psychological state. There’s an oddness to the tower [where the lead character lives]. There’s no one else living there, but sometimes when you live in a tower block, sometimes you do feel like you’re the only person on that block. I wanted.. to always be playing with what’s real and what may not be real. There’s something calling him from the distance, it’s within reach but he can’t quite close that distance or engage with it.

To write the film Haigh had to travel back to the past not just in a psychological sense but also in a physical one and those elements collided in many ways during filming. Visiting his father who has dementia he discovered that his dad no longer remembered he was gay, Haigh recalled, “He was like, ‘Are you married? Have you got a wife?’ I’ve been out to my dad for a very long time and he’s been beautifully accepting, and it had completely gone from his mind. I found myself suddenly having the same fear I had when I was in my 20s, of having to come out to him again.”

The family scenes were shot in his former childhood home in Croydon and he found that any feelings of nostalgia quickly evaporated, “My parents were loving but it was a complicated childhood, they split up when I was young. So going back into the house was difficult, but interesting. I lived there until I was seven, and I hadn’t been back for forty-odd years, but the memories were as vivid as they were when I lived them.” Curiously, not only memories returned but his eczema reappeared, “I’d not had eczema since I was a kid, it was coming up in the exact same places.” “My body literally reacted to how I used to feel when I was younger.”

This appears to be a film about the connection of the past and the present and how close they are to the surface whether we know it or not and Haigh values the cinema as a place to experience and explore those feelings with others. “Putting people in a cinema, where you are sharing something with strangers, is important. You could be sitting next to someone that you don’t know and you will probably never see again, but you are both sharing an emotion. I think that’s really powerful.”

Feedback Review

Just under a third of the audience filled in and returned a Feedback Form. Single respondents gave it a 1 or 2 score but the majority of responses were in the 3 and 4 range with a small number giving it a 5 top score.

Of those giving it minimal scores, the comments were as follows, “Hated it: could not emphasise with any characters or situations” and “depressing and tortuous. But Claire Foy was good”.

Of those giving the film a mid-rank score of 3 or 4, they were much engaged by the emotion in the film and of the level if its emotional intensity. Comments were made to this effect by many submitting feedback. Words used were, “Powerful”, “Poignant” plus “very strange and sad”. Other respondents in this score area felt fully engaged with the heart of the story and made comments such as, “An interesting look on grief and how the power of love help overcome[s] almost everything” and “Very powerful. Personally very moving for anyone who has lost a parent”. Those giving it a top 5 score were equally moved by the experience as the following comment summarises, “Very moving. Not an easy watching. But touching, deep. Simply beautiful”.

A common thread through all of the scoring was that the acting was commented on as excellent with one respondent making especial note of the performance by Andrew Scott in the role of Adam.

For all who provided Feedback this was a film that engaged their emotions in more than just a superficial manner.

Women Talking – 13th May 2024

Monday 13th May ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 101 mins. 2022.

Directed by: Sarah Polley

Based on Women Talking by Miriam Toews

Starring: Rooney Mara, Claire Foy, Jessie Buckley

‘Rage and reason in the face of ungodly acts’ – The Independent

‘Powerful drama cuts to the bone’ – NME

Introduction Given on the Night, Written & Presented by John Newland

Spoiler Alert!!

There aren’t a lot of laughs in this film. It’s quite sombre in tone and to match this feeling it’s also mainly shot in sombre tones. And it does pretty much what it says on the tin.

The film itself is set over two days in a religious Community in America’s rural heartland.  The Community is a Mennonite one. That is; it’s an evangelical Protestant community that looks to the Old Testament and the leading leadership role of Men in the Community.  As part of how they live their lives, the Community remains as separate as they can from the outside secular world.

– And it’s all gone really wrong.

Women and young girls have been assaulted in their sleep by the males of the Community.  When the perpetrators are caught, the women are instructed to forgive them.

However, instead of just falling meekly into line, the women as a group act with the reason and agency that the God they believe in, has given them.

They spend a full day in discussion as to what choices they have and what they should do out of all the choices they believe they have.

They then decide by a secret vote as to what – they – as the women in the Community – are going to do.

And that’s what the film’s about and that’s what they do we find out at the end.

Feedback Review

Just over a fifth of the audience filled in and returned a Feedback Form. A few respondents had given it a minimal score of 1 or 2 and one person had given it a 3. The rest of those providing Feedback, the large majority had given it a higher score, in equal divisions, of 4 or 5.

Of those giving it a minimum score, the comments were as follows: “Interesting [and] moving” and in a more questioning fashion, “Could so easily be true. So how could these uneducated women be so articulate.” For those giving it a 2 score, they felt it was not for them. Comments were, “Claire Foy was the only person you could identify with – very poor” and “What a lugubrious film”.

The sole individual giving it a mid-range mark felt, to an extent, somewhat more positive towards the film, “Good performances. Difficult subject matter. Good film”.

Those giving it top scores of 4 and 5 accepted the nature of the film as on the screen and the emotional effect it had had on them watching it. In their comments they articulated these feelings. Comments were, such as, “Powerful. Harrowing tale. Very well acted”, “Haunting film, much to discuss!”, “I was mesmerised. Fantastic acting” and “A masterpiece. Such profound conversation between the women. At times Shakespearian”.

This was a film that for whom everyone that had provided feedback, had impacted on them emotionally.

The Old Oak – CANCELLED

Monday 8th April ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 113 mins. 2023.

Directed by: Ken Loach, Written by: Paul Laverty

Starring: Ebla Mari, Dave Turner

‘Loach’s fierce final call for compassion’ – The Guardian

‘The perfect send-off for Ken Loach’ – Flicks.co.uk

Past Lives – 11th March 2024

Monday 11th March ODEON Andover. Start time: 8:00 p.m.

Cert. 12, 106 mins. In Korean and English. 2023.

Written and directed by: Celine Song

Starring: Greta Lee, Teo Yoo, John Magaro

‘A glorious date movie, and a movie for every occasion, too.’ – The Guardian

‘A gentle drama about first love’ – **** The Independent

Introduction Given on the Night, Written & Presented by John Newland

The creative spark of this film is literally the life-experience of Korean-American Director Celine Song, in this her debut film.

She was born in Korea and then, at age 12, her whole family moved to Canada, and she ended up as an adult in New York becoming a successful playwright.

This film is set over a period of 24 years and deals with the relationship of a boy (Hae Sung) and a girl (Nora – her Americanized name is used throughout the film). Friends at an early age, their friendship is severed when Nora’s family move to North America. They meet again in 12 years later and again in a further 12 years. And what happens, we’ll all find out in due course.

So; since Celine Song is a playwright – why is this story made as a film and not a play? The lady herself gave the answer that it just wouldn’t work as a play. Why not? Her answer is that the story spans decades in time. It also spans continents and the joint elements of time and space involved just wouldn’t work on a theatre stage.

Furthermore, having the real-life physical locations of urban Korea and urban America is central to one of Celine Song’s intentions. She wants to show that where you live and how long you live there and the culture of that place and time will have an effect on you and become part of what you are as a person. And this is something the Director has experienced in her own life.

Interviewed on the BBC, she recounted how she had to translate between two people – the one only speaking Korean and the other only speaking English. In the course of doing this translation, she felt inside that she was also translating in herself between different parts of herself and of her own life history.

So, what exactly is happening in this film? What I believe she is doing – and this is a personal view – is that she is a creative person and is using her creative ability to address the question of just whom she is as a person and then using the mechanics and story of this film as the means of getting to the answer, or at least, closer to it.

Feedback Review

Just under a half of the audience filled out and returned a Feedback form. Just over one half of the scores submitted were 3 and 4 scores (there was one 2 score) and the rest (two-thirds) were top scores of 5.

The person giving the 2 score felt the film had been a failure, “Did not live up to the hype. Disappointing. Could have been set anywhere.” Those giving it a 3 score noted their general dislike of the film and especially of the soundtrack and its intrusive prominence in the film. They had comments such as, “Unconvincing storyline. Unpleasant music backing. Some nice shots.”, “Implausible. Inconsequential. Dragged a bit.” and “A cute story but uninspiring.”

Those giving it 4 score were more taken with the sheer emotion of the narrative and gave comments such as, “Very beautiful film. Would have liked a fairy tale ending but probably more reflective of life” and “A real weepy enjoyed.”

Persons giving the film a top 5 score really enjoyed it and provided fulsome comments as to this fact. They wrote, “Wonderful film. Very powerful. Evocative. Fabulous music score.” and “Atmospheric. Beautifully portrayed. Very sad”. Note was specifically made of the way the relationships of the characters developed within the film, with comments as, “Terribly tender and sad. Exactly how human beings should behave with each other. Beautiful, understated” and “A very sympathetic film of a romance that never blossomed. A lost life for the young man. Excellent”.

This was clearly a film that left nobody that watched it came away indifferent to the experience.

Chevalier – 12th February 2024

Monday 12th February ODEON Andover. Start time: 8:00 p.m.

Cert. 12, 107 mins. 2022.

Directed by: Stephen Williams

Starring: Kelvin Harrison Jr., Samara Weaving, Lucy Boynton

‘A strong performance from Kelvin Harrison Jr’ – Empire

‘A loose, playful, defiant biopic’ – **** inews

Introduction Given on the Night, Written & Presented by Phil Ray

The television producer and screenwriter Stefani Robinson first encountered Joseph Bologne’s story whilst still in high school and it had an immediate impact. ‘I don’t even know what book it was,’ she said, ‘but I do know that my mom had given it to me, and it mentioned him [in] maybe a paragraph or two. It wasn’t an exhaustive account of [his] life, more a highlight reel.’

The six-time Emmy nominee often tried to spread the word but, ‘Throughout my life, no matter what bubble or what group that I was in, no one knew who [he] was.’

The film’s director, Stephen Williams, with credits for a number of high-profile tv shows including The Walking Dead, Watchmen and Westworld was embarrassed to admit that, ‘I had never heard of Chevalier until I got sent Stefani’s amazing script.’

Williams felt that he had a particular connection to Bologne which prompted him to take on the project: ‘Bologne was from an island in the Caribbean, Guadeloupe, and he made his way to Europe. I was born on another Caribbean Island, Jamaica, and made my way to England, at roughly the same age as Joseph. There were many similarities between my own personal experience and Joseph’s trajectory through his life. All of those things combined made it just an irresistible cocktail for me.’

The story needed fleshing out and it was Robinson who put many of the pieces together, but it was often other peoples’ perspectives of Bologne through letters and journals that mentioned him, that helped craft the picture of him that we’ll see tonight. A review of one of his operas even made up a part of the research but there’s nothing from his own hand.

‘I think that, unfortunately, Joseph Bologne’s life, the life of the Chevalier, was erased,’ said Williams, “There’s no polite way to say that. Napoleon came into power post-revolution in France and ordered the suppression of Joseph’s life, [and] his music. As a result, very, very little has been written about Joseph, very little of Chevalier’s music remains.” Apparently only about a third of his music is available to us, a tragedy when John Adams, the 2nd US president, described him as the most accomplished man in all of Europe.

‘It was a lot of work to fill in those blanks,” said Robinson, “to really get inside his brain and how he must have been feeling, how he must have been reacting to the things that were happening to him.’

Williams used a more contemporary musical reference point to aid his approach to the film: Bob Marley.  ‘Marley is obviously part of my cultural tapestry, [and] of my place of origin. His impact has expanded beyond the confines of reggae music; He is a musical revolutionary, and he’s both a revolutionary in terms of [the] socio-political arena, but also just internally, [in regard to] spiritual evolution, spiritual revolution, growth, and change.’

Robinson says that ‘This story doesn’t end with Joseph. There are so many people who have been marginalized or erased because of race, sexuality, gender, religion, nationality and [Bologne is] one of many human beings who have contributed incredible things to this world that we just [don’t] know about yet. I can’t wait for all of those other people to be excavated and celebrated.’

Feedback Review

Just under a third of the audience filled out and returned a Feedback form. The lowest score given was 2 and the great majority of respondents gave higher scores with the top 5 scores comprising almost half of the total response.

Of the 2 scores, it was clear that the respondents had not enjoyed the film. Comments were, “It didn’t move me” and “Rather boring and predictable. Lovely costumes though.”

Those giving it a 3 definitely liked the film but also found it somewhat rose-tinted in character and depiction. Comments to this end were, “A great story. Glad they told it but too romantic a view of history” and “Costumes lovely. Joseph’s story uplifting. Casting pretty awful – the love interest part.”

The 4 score respondents considered more about the internal dynamic of the story: a person of colour attempting to succeed in that society. Comments were, “Powerful film. Shocking racism. Beautiful music. Staging and setting magnificent” and again “Powerful film. Difficult to watch. Wonderful to have this hidden history given an audience”.

Those giving it a top score of 5 were equally happy that this story had been opened to the world and their comments echoed this view, “Super film. Acting, costume, music. A subject not well known and should be” and “What an important story to be told. Very powerful music to complement the good acting.”

This was a Film Club presentation that people that had watched it had had a definite emotional reaction to and response towards.

Scrapper – 8th January 2024

Monday 8th January ODEON Andover. Start time: 8:00 p.m.

Cert. 12A, 84 mins. 2023.

Written and directed by: Charlotte Regan

Starring: Harris Dickinson, Lola Campbell, Alin Uzun

‘A towering achievement for a first film’ – Empire

‘Taken as a whole, the result is dazzling’ – Standard

Introduction Given on the Night, Written & Presented by Phil Ray

The director of tonight’s film, Charlotte Regan, came from the music video scene having shot more than 200 videos for grime rap singers, an activity she describes positively as “constant chaos”. She began making the videos around the age of 15, mainly as she was friends with the performers, “I loved being around the grime scene,” she said in an interview, “The culture and atmosphere. You watch an incredible songwriter listen to an instrumental and smash a whole track out in ten minutes. It’s like witnessing magic. I know that’s super-dramatic, but that’s what it felt like when I was very young, because I hadn’t been around the arts.”

She never had an ambition to be a filmmaker as such, “I was quite boring. I just played football and did nothing creative”. Her earliest cinema-going memories were being snuck into The Lord of the Rings by her nan because it was possible to sneak in through the exit and not pay. “My nan was terrible, not paying for meals, not paying for cinema, because we didn’t have money, not just because she was doing it for a joy.”

In between the music videos Regan directed numerous shorts – one of the more acclaimed ones, Drug Runner, followed a 15-year-old cocaine dealer and Scrapper was, at one point, about a 16-year-old boy and his grandmother “escaping local drug dealers” and involved shootout scenes.

Most relevant to the further development of Scrapper, however, was No Ball Games, a documentary for the Guardian newspaper about how working-class children in the UK spent their summer holidays. “It was about the games they create in their imagination. That documentary totally transformed the script. It felt like research.”

Regan’s own world also started to change — during the early days of COVID she lost both her dad and her beloved nan. Those events made Regan “think about grief, and I started looking into how kids cope with grief, just because I found I was consuming all these adult books about grief and I was like, oh, it’s just too logical, I don’t want to go through the eight stages. But then when I found stuff about kids’ psychology, that interested me more.”

Comparisons have come up in reviews to Ken Loach and whilst Regan watched and loved Loach’s films growing up, she says, “We wanted this to feel super-joyful, and that the characters weren’t defined by the hardship of their class.”

And that appears to have paid off, at screenings Regan has noticed young, working-class cinemagoers connecting with the film and approaching her afterwards. “If we could connect this to working-class audiences, and they could see the joy in their upbringing – that’s what [I] would define as a success.”

Feedback Review

Just over half the audience filled out and returned a Feedback form. The lowest score given was 3 and the great majority of respondents gave a 4 score with a strong minority giving it a top 5 ranking.

Those giving it a 3 were in favour of the film but on the basis of being positive rather than enthusiastic. Comments were, “Lovely central performance. OK film” and “I can’t say I enjoyed watching this but could appreciate it was a good amateur film. The story redeemed itself by the end”.

Those giving it a 4 score were much more in favour of the film. There were comments such as, “So unusual. So creative. Moving. Fascinating”, “Unusual film. Actors were good and it was disturbing and amusing at the same time”. Note was specifically made of the excellent acting by the lead girl actor with comments such as, “Wonderful acting by the little girl” and “That girl will go far! Great portrayal. Deeper than you think…”.

Respondents giving it a top 5 score were as forthright in their praise. There were descriptive comments such as, “Brilliant” and “Excellent”. The excellence of the acting was again specifically pointed to, as in, “natural effortless acting” with overall assessments of the film as, “Very endearing” and “Heart warming story”.

This was a Film Club presentation that people that had watched felt they had got something good from having done so.

Next Goal Wins – 11th December 2023

Monday 11th December ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 97 mins. 2014.

Directed by: Mike Brett and Steve Jamison

Featuring: Thomas Rongen, Jaiyah Saelua, Nicky Salapu

‘Wildly engaging’ – Variety

‘Charming and uplifting’ – Empire

No Introduction Given
Feedback Review

Just over a third of the audience filled out and returned a Feedback Form. No-one gave it a ranking below 3 and the overwhelming majority of the responses were 4 and 5 scores with 5 scores being greater than the 3 and 4 scores combined.

The several individuals giving it a 3 score quite liked the documentary with one respondent commenting, “I don’t follow soccer but I got excited watching the teams compete”. This view was repeated by others who gave the film a higher score.

Those giving it a 4 score greatly enjoyed it and especially noted the positive nature of the documentary. Comments were such as, “…different and such a feel-good factor”, “Bit more uplifting than some of your films!” and “I wasn’t sure about the choice of a documentary and about football as well, but it was a very good choice”.

Those giving it a top 5 score were rock-solid in their enthusiasm. One person had the reservation that it, “could have ended 15 mins sooner” but continued with, “very uplifting”.  There were a number of comments such as, “Brilliant” and “Excellent” with others commenting in the same vein and pointing out that they also were not football fans. One person’s comment summed the general feeling about the documentary as, “A real winner! Joyous!”.

All-in-all this was a film club presentation that people felt glad they had watched it and felt better for having done so.

Broker (브로커) – 13th November 2023

Monday 13th November ODEON Andover. Start time: 8:00 p.m.

Cert. 12A, 129 mins. In Korean with English subtitles. 2022.

Written and directed by: Hirokazu Kore-eda

Starring: Song Kang-ho, Gang Dong-won, Bae Doona

‘Broker is nothing if not a film of surprises’ – FT

‘It’s a crowd-pleaser and a gentle joy’ – Time Out

Introduction Given on the Night, Written & Presented by Phil Ray

The Japanese director of tonight’s film, Hirokazu Kore-eda, originally a documentarian and television director, describes Broker as a companion piece to Shoplifters, which the club showed in 2019. Feted as the master of the family drama for his humane and patient, observational approach, he developed the plot for both films at the same time, viewing the two as siblings. Both share a common theme in which he follows the lives of social outcasts who come together to form an unconventional family.

“I’m interested in this innate human desire to form a familial unit,” he said recently, “I experienced that myself when I lost my parents. We all seem to have the desire to form a unit with somebody close. I’ve experienced this in my work as well, where a father figure of mine, a producer, passed away and then I needed to form a new unit close to me.”

The starting point for tonight’s story is the baby box scheme. Kore-eda discovered the existence of these whilst researching Like Father, Like Son (which won the Cannes Jury Prize in 2013) and centres on two children switched at birth. He read about a scheme, which is essentially an anonymous adoption system, operated by a hospital in Japan, although they are in fact more common in South Korea. The first official scheme in Japan was set up in 2007 and the public reaction, mainly critical, made headlines and consequently became a topic that interested him.

He’d also previously depicted a relationship between children and mothers in Nobody Knows (2004), mainly from the perspective of a young boy so the discovery of the baby box scheme allowed him to further investigate the relationship, this time from the other point of view.

It was his desire to work with Song Kang-ho, the star of Parasite that led to the film being made in Korea, “For at least a decade, we’d meet at festivals and remind each other we wanted to work together. So all that time, I’ve been seeking a subject that would allow us to.” Kore-eda said recently.

Of course, there were cultural and linguistic differences that had to be overcome and Bae Doona, who starred in Kore-eda’s Airdoll helped with that. “Before we started filming, we went through the whole script together, and we went through everything in comparing the Japanese to the Korean translation. She wanted to make sure that nothing had been lost in the translation. She spotted that there were some [ellipses] in Japanese that weren’t there in Korean, and she asked me what it was that I was trying to express with these [themes].”

Other than that, his approach was the same as on his recent films: I shoot, edit that night, then I do some rewrites for the next day. My process is that I write, edit, and film all in parallel.

He had about two-thirds of the story written before shooting started with the last third of the film to be decided while the film was being made, “I wrote a letter to everybody saying that what[ever] happens to these people in the van once they arrive in Seoul, I’ll figure out as we go along.” That, he believes, is the most enjoyable way to come up with the ending.

And fun, whatever the material, is what motivates him most. “I loved films ever since I was a teenager. It was one of the only hobbies that I had.” He said in an interview, “I wasn’t thinking that I would make it into my profession. If I were to complain in my situation, I would be [seen as] one ungrateful… whatever. And that’s not something I want to be.”

Feedback Review

Just over a third of the audience filled out and returned a Feedback Form. With a few respondents giving it a 3 score the rest of those providing Feedback were comprised of those giving it higher scores in equal divisions of 4 and 5.

Those giving it a 3 were engaged with the film but had reservations. There were comments as, “Disturbing film, too long and drawn out, a bit boring at times” and, “Started really well but sagged in the middle (…) Became too sentimentally silly (…) But a good try!”

The 4 scorers felt more positive about it especially about a view into the window of Korean culture. However, there were concerns that the story itself was unclear in how it developed on the screen. Comments were, “Well made glimpse into another ‘civilisation’ despite a difficult plot to follow”, “Fascinating glimpse into a different culture. Up in the air at the end – was disappointing.” and “A beautiful film both amusing and sad. Would like to see more by this director.”

Those giving it a top 5 score were as positive as these respondents had clearly engaged in a positive emotional way with what was on screen. There were many descriptive comments of the film as a whole as, “Wonderful” and “Excellent”. Comments were, “very emotional and multi-layered”, “very moving” and “A complex story, subtly and sparingly told. Beautiful acting.”

This was a film that everybody whom had provided feedback had felt was far above run-of-the-mill and whom, for many had felt a positive emotional engagement with.

Tár – 9th October 2023

Monday 9th October ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 158 mins. 2022.

Written and directed by: Todd Field

Starring: Cate Blanchett, Noémie Merlant, Nina Hoss

‘Blanchett dazzles as monstrous maestro’ – The Guardian

‘Powerful drama cuts to the bone’ – NME

No Introduction Given
Feedback Review

Just under a third of the audience filled out and returned a Feedback Form. Most of the respondents gave it a mid-range score of 3 or 4, with a slight movement towards the higher 4 score. One person gave it a 5.

None of the respondents found it an especially easy film to watch or follow. Comments from both score groups reflected this feeling. As well and as running through the comments made was also an absolute appreciation of leading actress Cate Blanchett’s central performance in her role as Lydia Tár. This mix of engaging with the film and of being aware of the contribution Cate Blanchett brought to the screen went hand-in-hand in many of the comments written and submitted.

There were comments such as, “A tricky film to watch, heavy going, exhausting to actually know what was going on. Nevertheless Cate Blanchett was incredible” and from a second respondent, “Complex and would need to see it again. Enjoyed it though I sensed not everyone did. Great acting and very atmospheric.” and finally from a third person, “It was like reading a book that has been recommended but which you find v[ery] hard to get into – the acting was superb…not a film I would hurry to see again”.

Clearly a film that challenged the audience and many of whom many took up that challenge.

Women Talking – CANCELLED

Monday 11th September ODEON Andover. Start time: 8:00 p.m.

Cert. 15, 101 mins. 2022.

Directed by: Sarah Polley

Based on Women Talking by Miriam Toews

Starring: Rooney Mara, Claire Foy, Jessie Buckley

‘Rage and reason in the face of ungodly acts’ – The Independent

‘Powerful drama cuts to the bone’ – NME