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

Cornwall Film Festival 2026 Supporters, funders, venues & partners page Cornwall Film Festival is made possible through the generous support of our funders, partners and sponsors.Their support helps us bring outstanding independent film to Cornwall, develop new creative talent and ensure more people can experience and participate in film culture. Thank you for making CFF possible. STORIES FROM ALL CORNERS OF THE WORLD - OUR SUPPORTERS, FUNDERS & PARTNERS Cornwall Film Festival is made possible through the generous support of our funders, partners and sponsors.Their support helps us bring outstanding independent film to Cornwall, develop new creative talent and ensure more people can experience and participate in film culture. Thank you for making CFF possible. OUR SUPPORTERS LAY’S AUCTIONEERS Specialising in antiques, fine art and collectables since 1978, Lay’s Auctioneers is based in Penzance and brings expert knowledge and a passion for remarkable objects to buyers and sellers in Cornwall and beyond. Visit Lay’s Auctioneers CORNWALL HIDEAWAYS Cornwall Hideaways offers a hand-picked collection of holiday cottages across Cornwall, from coastal escapes to countryside retreats. With local knowledge and properties throughout the county, they help visitors discover the very best of Cornwall. Visit Cornwall Hideaways FIVE RIVERS FOSTERING Five Rivers provides fostering services across Cornwall, supporting foster carers to make a lasting difference to children and young people. Their local teams provide personalised, professional support throughout the fostering journey. Visit Five Rivers Fostering MERLIN CINEMAS For a big-screen night out or something a little different, Merlin Cinemas brings films and live entertainment to local audiences. Visit Merlin Cinemas ANN’S PASTIES Ann’s Pasties makes traditional Cornish pasties from a family recipe passed down through generations, using ingredients from local suppliers. They also cater for events, so there’s pasty power for gatherings big and small. Visit Ann's Pasties OUR FUNDERS BFI FILM AUDIENCE NETWORK SOUTH WEST BFI Film Audience Network supports a thriving and inclusive film exhibition sector, helping audiences across the South West discover a broader range of independent and international cinema and supporting organisations to develop accessible, adventurous film programmes. Visit BFI Film Audience Network South West THE NATIONAL LOTTERY HERITAGE FUND he National Lottery Heritage Fund is the UK’s largest funder of heritage, supporting projects that connect people and communities with the stories, places and heritage that matter to them. Its support helps Mor Media preserve, explore and share Cornwall’s stories. Visit The National Lottery Heritage Fund FALMOUTH BID Falmouth BID brings businesses together to support and promote Falmouth as a vibrant destination to live, work and visit. Its support helps Cornwall Film Festival contribute to the town’s cultural life and bring audiences into Falmouth. Visit Falmouth BID FEAST CORNWALL FEAST supports artists and communities across Cornwall and the Isles of Scilly to create inspiring cultural experiences, bringing people together through high-quality arts and opportunities to participate in creativity Visit FEAST Cornwall PEOPLE’S POSTCODE LOTTERY Players of People’s Postcode Lottery help fund thousands of charities and good causes, supporting organisations that strengthen communities and create positive change. This vital support helps Mor Media widen access to film, creativity and cultural experiences in Cornwall. Visit People’s Postcode Lottery OUR VENUES & PARNERS

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Cornwall Film Festival 2026 Programme Feature films from around the globe. See all the screenings at this year's edition of the Cornwall Film Festival. STEP INTO THE FRAME AND EXPERIENCE STORIES FROM ALL CORNERS OF THE GLOBE Cornwall Film Festival is a global platform inviting filmmakers from every corner of the world to showcase bold, captivating and innovative stories. BOOK TICKETS FEATURE FILMS 16-22ND NOV THE POLY, FALMOUTH TENDER LOVING CARE 7:30 PM | SATURDAY 21ST NOV | THE POLY Mike Leigh returns with a funny, compassionate portrait of friendship, family and the people whose jobs revolve around caring for others. Starring Kate O’Flynn, Alice Bailey Johnson, Marion Bailey and Paul Jesson, TENDER LOVING CARE finds warmth, humour and humanity in the complications of ordinary life.. Dir Mike Leigh | UK | 2026 | 1hr 47mins | Comedy / Drama | CFF15 Special Presentaion of CFF's Patron BOOK TICKETS I SEE BUILDINGS FALL LIKE LIGHTNING 7:30 PM | MONDAY 16TH NOV | THE POLY Clio Barnard returns with her fifth feature, bringing her distinctive eye for place, class and complicated human relationships to an ensemble story about five childhood friends approaching 30. Dir Clio Barnard | 2026 | 1h 49min | English | Drama BOOK TICKETS WILD HORSE NINE 5 PM | MONDAY 15TH NOV | THE POLY Martin McDonagh reunites with Sam Rockwell for a darkly comic thriller starring John Malkovich, Steve Buscemi, Tom Waits and Parker Posey. Expect razor-sharp dialogue, moral complications and a very strange trip to paradise. Dir Martin McDonagh | UK / USA / Chile | 2026 | 1hr 58mins | Comedy / Drama / Thriller | CFF15 BOOK TICKETS LA BOLA NEGRA 5 PM | TUESDAY 17TH NOV | THE POLY Spanish-language queer epic explores the intertwined lives of three men. An epic tale showing the connectivity from the Spanish Civil War and stretching through the present day, three lives intimately linked by sexuality and desire, pain, and legacy. Dir Javier Calvo & Javier Ambrossi | Spain / France | 2025 | 2hrs 35mins | Drama / LGBTQI+ | CFF15 BOOK TICKETS JOSEPHINE 7:30PM | TUESDAY 17TH NOV | THE POLY A powerful drama explores childhood, trauma and the limits of parental protection through the eyes of a family whose sense of security has suddenly been shattered. Starring Gemma Chan and Channing Tatum Dir Beth de Araújo | 2026 | 1h 54min | English | Drama / Thriller | CFF15 BOOK TICKETS AMERICAN DOCTOR 7:30PM | WEDNESDAY 18TH NOV | THE POLY Oscar nominated director, Poh Si Teng’s first full-feature documentary chronicles the experiences of three American physicians who travel to Gaza to treat casualties wounded in the Israeli- Palestenian conflict. In an attempt to confront Americans about the consequences of their actions – or inactions, Poh Si Teng reaches for a genre with mass popular appeal: the medical drama. Dir. Poh Si Teng | 2026 | 1hr 33mins | Documentary | USA / Palestine / Malaysia / Qatar / Denmark English & Arabic with English subtitles |CFF15 BOOK TICKETS WE, THE HATED 5PM | THURSDAY 19TH NOV | THE POLY How far would you go for something you believed in, and what would you be prepared to lose? Taking audiences inside story of Just Stop Oil, one of the most divisive protest movements in recent British history. As protests become increasingly controversial and the authorities respond, the activists must weigh the personal cost of their actions against what they see as the potentially catastrophic consequences of doing nothing. Dir Rich Felgate | UK | 2026 | 1hr 29mins | CFF15 BOOK TICKETS ONLY WHAT WE CARRY 7:30 PM | FRIDAY 20TH NOV | THE POLY Jamie Adams’ intimate drama brings together Sofia Boutella, Charlotte Gainsbourg, Simon Pegg, Lizzy McAlpine and Quentin Tarantino in a story of love, creativity, memory and the emotional baggage we carry with us. When dancer Charlotte returns home to Normandy with her sister, a reunion with her former choreographer brings old insecurities and long-buried truths back to the surface. Dir Jamie Adams | UK / France | 2026 | 1hr 31mins | Comedy / Drama | CFF15 Film premiere LIVE Director Q&A BOOK TICKETS GLORIOUS SUMMER 5 PM | FRIDAY 20TH NOV | THE POLY Imagine a world where summer never ends, every desire is fulfilled, and responsibility is a thing of the past. But beneath the dazzling sunshine and picture-perfect surroundings, something darker is stirring. Three women develop a secret language of touch and begin rehearsing increasingly disturbing rituals, their growing desire for freedom threatens to unravel the illusion. A First feature from Polish directing duo Helena Ganjalyan & Bartosz Szpak, winner of the SXSW 2025 Special Jury Award. GLORIOUS SUMMER | Dir Helena Ganjalyan & Bartosz Szpak | Poland | 2025 | 1hr 28mins | Polish with English subtitles| Drama / Sci-Fi / Psychological Thriller | CFF18 BOOK TICKETS HOPE 9:45 PM | FRIDAY 2OTH NOV | THE POLY In a remote South Korean village, reports of a mysterious creature send the local police and residents into the mountains. But the hunters soon become the hunted. From Na Hong-jin, director of THE WAILING, comes an audacious sci-fi action thriller where monster movie, black comedy and spectacular action collide. Starring Hwang Jung-min, Zo In-sung and Hoyeon alongside Michael Fassbender, Alicia Vikander and Taylor Russell Dir Na Hong-jin | South Korea | 2026 | 2hrs 37mins | Sci-Fi / Action / Thriller | 15 BOOK TICKETS SURROUND SOUND: THE STORIES OF MOVIE MUSIC 12 PM | SATURDAY 21ST NOV | THE POLY Film critic Mark Kermode and radio producer Jenny Nelson will take a lively trip through the music of the movies, sharing favourite scores, unexpected choices, behind-the-scenes stories and a few strong opinions, accompanied by music extracts along the way. Followed by a book signing. LIVE Intro + Music + Book Signing Suitable for all ages BOOK TICKETS THE DEBUT 2:30 PM | SATURDAY 21ST NOV | THE POLY CFFestival favourite Jessie Eisenberg returns. When shy, unassuming housewife Mona Friedman is unexpectedly cast in a tiny role in a local community theatre production, she discovers a world she never knew she needed. Mona throws herself into acting with increasingly ferocious commitment, becoming determined to protect the artistic integrity of her decidedly marginal role. The Debut turns the backstage politics, oversized egos and glorious absurdity of community theatre into a warm and sharply observed comedy about creativity and reinvention. Starring Julianne Moore, Paul Giamatti, Halle Bailey & Jesse Eisenberg himself. Dir Jesse Eisenberg | USA | 2026 | 1hr 45mins | Comedy / Drama | CFF12A BOOK TICKETS FATHERLAND 5 PM | SATURDAY 21ST NOV | THE POLY In 1949, German writer Thomas Mann and his daughter Erika embark on a road trip across a Germany in ruins, from US-dominated Frankfurt to Soviet-controlled Weimar. From Academy Award-winning filmmaker Paweł Pawlikowski, the visionary director of Ida and Cold War, comes Fatherland, a breathtakingly beautiful black-and-white drama starring Sandra Hüller and Hanns Zischler. A powerful journey through memory, guilt and divided loyalties. Dir. Paweł Pawlikowski | Poland / Germany / Italy / France | 2026 | 1hr 22mins | German, English, French & Russian with English subtitles | Historical Drama | CFF12A BOOK TICKETS ROCKY 12 PM | SUNDAY 22ND NOV | THE POLY Rocky is far more than a boxing film. Written by and starring Sylvester Stallone, Winner of the Academy Award for Best Picture, this enduring classic follows small-time boxer Rocky Balboa as he is given one improbable shot at the world heavyweight title. Featuring Bill Conti's iconic score and some of cinema's most unforgettable moments, Rocky remains a powerful story of resilience, love and self-belief. This special screening is followed by Rocky at 50, a discussion exploring the film's enduring legacy and the evolution of the cinematic underdog. Dir. John G. Avildsen | 1976 | 1h 59min | English | Drama / Sport / Classic | PG BOOK TICKETS BUGBOY 2:30 PM | SUNDAY 22ND NOV | THE POLY Shy 16-year-old George finds connecting with people difficult. Following his parents’ painful divorce, he retreats into the tiny, intricate world of insects and forms an unlikely bond with a cricket named Isabella. A CFF Director’s Pick from Sheffield DocFest 2026 "Funny, affectionate and refreshingly small-scale, this is a film about paying attention to other people, yourself and, occasionally, to the creatures crawling around under your feet. " A giant hug of a film" Louise Fox Dir Lucas Paleocrassas | 2026 | 1h 28min | Greek | Documentary | English subtitles | 12A BOOK TICKETS THE EDUCATION OF JANE CUMMING 5:15 PM | SUNDAY 22ND NOV | THE POLY One accusation threatens two women’s fight for independence set in Edinburgh in 1810. Two governesses realise their dream of opening a school for girls, offering them a rare chance at an independent life. Based on true events, Sophie Heldman’s beautifully made period drama explores prejudice, reputation and the cost of surviving in a strict and unforgiving society, and stars Flora Nicholson, Clare Dunne, Mia Tharia and Fiona Shaw. Dir Sophie Heldman | UK / Germany / Switzerland | 2026 | 1hr 54mins | Drama / LGBTQI+ | CFF15 BOOK TICKETS CFF ON TOUR DEREK VS DEREK 6:30 PM | FRIDAY 13TH NOV | MABE VILLAGE HALL One is an advocate for intensive farming; the other is giving his entire farm over to nature, rewilding it into an oasis for wildlife. Tempers fray, wild animals escape, and the land between them is transformed, all while the two Dereks butt heads over what the English countryside should look like and who gets to decide. The tension between rewilding and traditional agriculture has never felt more urgent, and the film finds its way into that conversation through a neighbourly dispute that just happens to share a name on both sides of the fence. Dir James Dawson | 2026 | 1h 28min | United Kingdom | Documentary | English | 15 BOOK TICKETS NO TREES, NO SEAS 8 PM | FRIDAY 13TH NOV | THE POLY A surfer's search for what is killing our seas leads him deep into the forest – and to an ancient truth: that the key to healing our seas lies on the land. No Trees No Seas is a feature-length documentary revealing the hidden connections between trees and seas, and how bringing back our woodlands could be one of the most powerful things we can do to restore nature, both on land and at sea. Plus Q&A with Sam Bleakley and others - More details soon! Screened in partnership with The Poly NO TREES, NO SEAS | Dir James Stuart | 2026 | 100 mins | Documentary | UK | CFF15 BOOK TICKETS BUG BOY 7 PM | MONDAY 9TH NOV | THE RITZ, PZ Shy 16-year-old George finds connecting with people difficult. Following his parents’ painful divorce, he retreats into the tiny, intricate world of insects and forms an unlikely bond with a cricket named Isabella. A CFF Director’s Pick from Sheffield DocFest 2026 "Funny, affectionate and refreshingly small-scale, this is a film about paying attention to other people, yourself and, occasionally, to the creatures crawling around under your feet. " A giant hug of a film" Louise Fox A special screening in partnership with Penwith Film Society at their new home, The Ritz, Penzance. Stay for a drink, meet fellow film lovers? Movie Magic cards are valid for this screenings! Dir Lucas Paleocrassas | 2026 | 1h 28min | Greek | Documentary | English subtitles | 12A BOOK TICKETS ULTIMATE THUNDER 2 PM | SATURDAY 7TH NOV | WTW PLAZA TRURO (AD, CS) A joyful, loud and big-hearted documentary about six musicians making their mark on the punk scene. Five members of the Leeds-based band have learning disabilities, Down syndrome or autism, and their raw, fully improvised gigs have earned them a growing following. A funny, defiant celebration of friendship, resilience and the power of making noise together. Winner of the Sheffield DocFest 2026 Audience Award ULTIMATE THUNDER | Dir Ben G. Brown | UK | 2026 | 1hr 38mins | Documentary | CFF12A BOOK TICKETS FUN STUFF THE FILM PUB QUIZ 7:30 PM | WEDNESDAY 11.11.26 | THE LOUNGE | FALMOUTH Calling all movie masterminds. Put your movie knowledge to the test! This event is being run as a fundraiser for The Cornwall Film Festival. Bring friends or join a team. This is a fun evening with music, picture and general knowledge rounds. £2.50 per person or £15 per team of 6 Palacio Lounge | The Moor | Falmouth | TR11 3QA BOOK TICKETS DROP THE NEEDLE 7 - 10 PM | TUESDAY 10.11.26 | UNDERLAND BAR | FALMOUTH Film Scores Vinyl Night : Bring along a favourite film soundtrack on vinyl and share the music that stayed with you beyond the screen. From iconic scores and cult soundtracks to unexpected discoveries, drop the needle, turn up the volume and celebrate movie music together in a relaxed analogue listening session. The Chintz Bar & Underland Music Old Brewery Yard, Falmouth TR11 2BY PAY WHAT YOU CAN MAKING MOVES + MOVIES FILM MIXER NETWORKING | COMING SOON Join female and non-binary filmmakers, storytellers, festival guests and creatives for an inspiring opportunity to mix, mingle and make new connections. Presented in partnership with Making Moves + Movies 2026 Mixers & Meetups, this welcoming event is a chance to share ideas, spark collaborations and celebrate our vibrant filmmaking community. Moth & Moon Pub | 31 Killigrew St | Falmouth | TR11 3PW RESERVE TICKETS SHORT FILMS THROUGH OUT THE FESTIVAL JUMP to the dedicated page for all our celebrated short film programmes. @The Poly INTERMISSION (EXPERIMENTAL SHORTS) Wed 18th Nov 5pm BEST OF THE WEST (REGIONAL SHORTS) Tues 19th Nov 7.30 pm BEST INTERNATIONAL NARRATIVE & NON-NARRATIVE SHORTS Friday 20th 10.30 am BEST UK SHORTS Fri 20th 12.30 pm FRESH (STUDENT SHORTS) Fri 20th Nov 2.30 pm @Salt Arts CIC Saltash BEST OF THE WEST | SHORT FILM SHORTLISTERS Fri 4th Dec 7.30pm SEE PROGRAMME SOON SEE YOUNG PEOPLE'S PROGRAMME INDUSTRY DAY 19.11.26 | 9AM - 5:30PM | THE POLY | FALMOUTH Cornwall Film Festival’s Industry Day brings together emerging and established filmmakers with industry organisations, funders, producers and practitioners for a packed programme of conversations, practical insight, bookable 1-to-1 meetings and networking. Your INDUSTRY DAY PASS+ includes networking brunch and lunch, access to all four sessions and INDUSTRY SURGERIES, plus two festival tickets for £45, £35 for students. Individual sessions can be booked separately for £15, but INDUSTRY SURGERIES are exclusively available to PASS+ holders. If you're super busy and can't commit to a session or a whole day, join us for a networking lunch. Places are limited READ MORE BOOK INDUSTRY PASS+ SUPPORTED BY STORIES FROM ALL CORNERS OF THE WORLD -