Devizes Film Club brings an eclectic mix of award-winning, thought-provoking and unusual films to the Palace Cinema Devizes. We have two seasons, spring and autumn, when we show some of the best films from the UK and around the world; films you would not normally expect to see locally. All films are open to members and non-members.

 

Film Club latest August 2019

 

Dear filmgoers

As you know, the Palace was taken over by Picturedrome earlier this year. They are currently refurbishing the cinema and we believe they plan to close it at some point, to complete the works. At the moment they can’t give us any information about timing, so we don’t know whether we can show the autumn season of films at the cinema.

However, we have chosen 9 films and we are looking at alternative venues, just in case. We do hope to go ahead, but we can’t confirm the dates or venues just yet.

We won’t ask for membership subs until we know we can show the films.

For all the latest updates, please sign up to our mailing list (see ‘contact us’ below).

To whet your appetite in the meantime, here are the films we plan to show.

Devizes Film Club Committee

 

Tickets on the door

At the Palace Cinema, 19-20 Market Place, Devizes SN10 1JQ

£7 members

£8 non-members

Films start at 8pm prompt

Cinema: 01380 722971

 

Autumn season 2019

 

THE OLD MAN AND THE GUN (12A)

Date: tba

Director: David Lowery 

USA   2018   99 mins

Starring: Robert Redford, Casey Affleck, Sissy Spacek

Based on a true story, Forrest Tucker just wants to do what he enjoys. He escapes from San Quentin and conducts an unprecedented string of heists, confounding authorities and enchanting the public. He is described as gentlemanly and charming as he asks to open a bank account, pulls back his coat to show his gun and quietly talks the tellers through the emptying of their tills. Wrapped up in his pursuit are Detective Hunt, who becomes captivated by Forrest’s commitment to his craft, and a woman who loves him despite his profession.  A leisurely paced film which Robert Redford says will be his last.

 

SHOPLIFTERS (15)

Date: tba

Director: Hirokazu Kore-eda 

Japan   2018   121 mins   (subtitles)

Starring: Lily Franky, Sakura Ando

As the title suggests, the film is about a group of people who steal. The plot centres on Yuri, a young girl who is neglected by her family. Osamu and Shota are concerned to see Yuri left outside her home on a balcony, so they take her to join their group. Her saviours/abductors(?) train her to shoplift. Eventually they learn that Yuri has been reported missing. Yuri becomes Lin and the ‘family’ try to conceal her identity. Shota feels guilty about Yuri’s corruption and tries to prevent it but in doing so he gets caught by the police. The police investigation results in the group unravelling and their stories are revealed.

The film won Cannes Film Festival’s prestigious Palme D’Or award in 2018.

 

CAN YOU EVER FORGIVE ME? (15)

Date: tba

Director: Marielle Heller

USA   2018   106 mins

Starring: Melissa McCarthy, Richard E Grant

In 1991, when the work of best-selling celebrity biographer, Lee Israel (Melissa McCarthy) falls out of fashion, her agent tells her to find another way to make a living. She turns to forgery. First, she ‘improves’ letters from literary greats by adding postscripts and then starts producing fake letters of her own. Enlisting the help of lounge-lizard drinking buddy, Jack (Richard E Grant), she is a deeply unsympathetic character. Rude and bad-tempered, she’s utterly contemptuous of human beings, but passionately devoted to her cat. Based on a true story, this is a horribly fascinating odd-couple black comedy with magnificent performances from the two leading actors.

 

APOSTASY (PG)

Date: tba

Director: Daniel Kokotajlo

UK   2017   95 mins

Starring: Siobhan Finneran, Sacha Parkinson, Molly Wright

Apostasy is a remarkable debut film written and directed by Daniel Kokotajlo. It looks at three women: a mother, Ivanna and her two daughters, Luisa and Alex, wrestling with the rules and restrictions of their religion and the ways in which their faith is tested. Ivanna is a devout witness; Alex is also committed but Luisa is beginning to doubt. Kokotajlo, brought up as a Jehovah’s Witness in Manchester, brings insight into this world and sets this intelligent and gripping drama in Oldham.  His writing is observant and sympathetic and, when compared with The Children Act, is more knowledgeable and less excitable.

 

WOMAN AT WAR (12A)

Date: tba

Director: Benedikt Erlingsson 

Iceland   2018   101 mins   (subtitles)

Starring: Halldóra Geirharðsdóttir

Set in the bleak but beautiful scenery of Iceland, a middle-aged woman is secretly a fierce eco-warrior. She becomes a national hero for resisting an aluminium corporation whose expansion is having devastating effects on the countryside. She uses a bow and arrow to close power lines and explosives to bring down a pylon, but is also committing herself to adopting a little Ukrainian girl. A thrilling film of idiosyncratic charm and persistent dark, quirky humour, it is also joyful and uplifting. This is timely Nordic noir with outstanding twists, entertaining sub-plots and wonderful photography – all backed by an inventive score.

 

THE WHITE CROW (12A)

Date: tba

Director: Ralph Fiennes

UK, France, Serbia   2018   127 mins   (subtitles)

Starring: Oleg Ivenko, Ralph Fiennes

The White Crow tells the story of ballet legend Rudolf Nureyev and his sensational escape to the west in the early ’60s at the age of 23, while on his first European tour in Paris. Like Billy Elliot’s defection from his working-class childhood, Nureyev’s flight involves crises of loyalty with family and community. David Hare wrote the screenplay and Ralph Fiennes directs and gives a performance of spaniel-eyed sadness as Nureyev’s dance teacher and mentor Alexander Pushkin. Nureyev is played by the Ukrainian ballet star and first-time actor Oleg Ivenko, so the ballet scenes are wonderful.

 

BLACKKKLANSMAN (15)

Date: tba

Director: Spike Lee

USA   2018   135 mins

Starring: John David Washington, Adam Driver, Laura Harrier, Topher Grace

In the 1970s, the Colorado Springs Police Department appointed its first black detective, Ron Stallworth. The film is about Ron’s incredible-but-true story of the undercover work in which he infiltrated the Klu Klux Klan.

Ron ingratiated himself with the KKK by answering a newspaper advert and posing as a white racist. He convinces them of his white supremacist credentials on the telephone and his Jewish colleague acts out the persona that Ron has created, so successfully that he becomes the leader of the local branch of the KKK.

The parallels between the 1970s racism and contemporary American racism are made plain. The film is also a very good thriller!

 

SUMMER 1993 (12)

Date: tba

Director: Carla Simón

Spain   2017   97 mins   (subtitles)

Starring: Laia Artigas, Paula Robles, Bruna Cusí

Six-year-old Frida has been sent away from her home in Barcelona. She’s going to live with her uncle Esteve and aunt Marga, and their three-year-old daughter Anna, in the country. A long, lazy summer may sound idyllic, but Frida’s mother has just died and she is now an orphan. Unable to express her grief, Frida finds it hard to adjust and starts to behave badly, disrupting the family dynamic and scaring Anna. With outstanding performances from the child actors, we watch the children playing aimlessly as we gradually realise that something might be very wrong. A warm, beguiling and delicately observed film, based on the writer-director’s own life story.

 

PHANTOM THREAD (15)

Date: tba

Director: Paul Thomas Anderson

USA, UK   2017   130 mins

Starring: Vicky Krieps, Daniel Day-Lewis, Lesley Manville 

In his final film role, Daniel Day-Lewis plays Reynolds Woodcock, celebrated ’50s dressmaker to the debutantes of Britain, but now under pressure from the New Look and French influences. A brilliant English couturier of the post-war age: fastidious and cantankerous, humourless and preposterous. Just when he is at his lowest, Woodcock falls in love with a shy, maladroit German waitress. He persuades her to come and live with him and his sister in their London fashion house as his assistant and model. There is such pure delicious pleasure in this film, in its strangeness, its vehemence and its flourishes of absurdity.

 

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