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Season: CFS

This parent distinguishes CFS seasons from CIFF seasons or specials

  • Inside Llewyn Davis

    Inside Llewyn Davis

    Synopsis:

    The emerging folk scene has yet to produce a star, although it does not want for talent, notably singer-songwriter Llewyn Davis. But it’s hard to stay positive when your career is flailing, you’ve outstayed your welcome on all your friends’ couches, and you may have got your best mate’s girlfriend pregnant.

    List of Awards:

    Cannes Film Festival: Grand Prix

    Critic Quote(s):

    The direction is pitch-perfect; the characters unique and eccentric yet fully realised and the script, woven with absurdist comedy, a marvel. (Larushka Ivan-Zadeh, Metro)

  • The Double Life of Veronique

    The Double Life of Veronique

    Synopsis

    Two parallel stories about two identical women; one living in Poland, the other in France. They don’t know each other, but their lives are nevertheless profoundly connected.

    List of Awards

    Cannes Film Festival: Prize of the Ecumenical Jury, FIPRESCI Prize

    Critic Quote(s)

    The elusiveness of the film is precisely the point: it is as beautiful and mysterious as a poem and its formal elegance and conviction are unarguable. (Peter Bradshaw)

  • Cologne 75

    Cologne 75

  • Diva

    Diva

    Critical Reception

    The movie is filled with so many small character touches, so many perfectly observed intimacies, so many visual inventions—from the sly to the grand—that the thriller plot is just a bonus. In a way, it doesn’t really matter what this movie is about; Pauline Kael has compared Beineix to Orson Welles and, as Welles so often did, he has made a movie that is a feast to look at, regardless of its subject. […] Here is a director taking audacious chances, doing wild and unpredictable things with his camera and actors, just to celebrate moviemaking. (Roger Ebert)

    Awards

    César Awards: Best Debut (Beineix), Music, Cinematography and Sound

    Conclusion

    Jean-Jacques Beineix’s wonderfully stylish thriller was largely responsible for the renaissance of foreign language film in the UK in the early 80s and remains impressive viewing today.” – David Wood, BBC

  • Dreams

    Dreams

    Synopsis

    A 16‑year‑old girl, Johanne, becomes intensely infatuated with her French teacher and documents her feelings in a private diary. When her mother and grandmother discover the writing, they are shocked by its intimacy yet captivated by its literary quality. Their fascination leads them to consider publishing the diary, inadvertently taking ownership of Johanne’s emotional world. As the story unfolds, Johanne confronts the gap between romantic fantasy and lived experience, navigating desire, vulnerability, and the loss of control over her own narrative.

    Context and Craft

    Dag Johan Haugerud’s Dreams is part of a trilogy exploring sexuality, longing, and social norms in contemporary Oslo. The film sits between Sex and Love in Haugerud’s thematic cycle, each entry examining human relationships through moral fables and existential comedy. Haugerud’s background in literature and psychological drama shapes the film’s tone: intimate, observational, and grounded in everyday emotional complexity. Cinematographer Cecilie Semec employs a naturalistic visual style that mirrors the film’s focus on interiority, while Anna
    Berg’s music underscores the tension between adolescent idealism and adult ambivalence. The screenplay’s blend of humour and seriousness reflects Haugerud’s interest in autofictionlike storytelling, reminiscent of Norway’s literary tradition of introspective realism.

    Critical Reception

    • “Vividly captures the dizzying highs and lows of first love,” and highlights Haugerud’s “rich trilogy of films exploring modern relationships.” — Sight & Sound
    • “A teenager’s crush on her teacher cues a complex but light‑handed investigation of romantic awakening, power imbalance, and creative catharsis.” — Hollywood
      Reporter
    • “A complex but light‑handed investigation of romantic awakening, power imbalance and creative catharsis.” — Variety

    Conclusion

    Critics have praised Dreams for its candid portrayal of teenage desire and its nuanced handling of ethically fraught material. Provocative and tender, Dreams stands out as a thoughtful, quietly
    daring exploration of adolescent longing and the ways adults project their own desires onto the young. Haugerud’s restrained direction and the film’s layered performances (particularly Ella
    Øverbye and Selome Emnetu) create a work that is emotionally rich without sensationalism. As part of Haugerud’s trilogy, it deepens his ongoing examination of intimacy, autonomy, and the
    stories we tell about ourselves, and the stories others try to tell for us.

    Audience Rating: 8.5

    Audience Comments:

    • Beautifully written. Brits could never be this emotionally open.
    • Makes you remember how self-absorbed you were as a teenager
    • Loved the imagery of the nan climbing Jacob’s Ladder. Hope she reached the Swedish hunk!
    • Wonderful evocation of young love. Married and elderly wisdom from Grandma.
    • An amusing little Ditty
    • Sensitive
    • Elongated. Interesting and evocative, but became boring/self indulgent
  • Vermiglio

    Vermiglio

    Synopsis

    Set in 1944 in the remote Alpine village of Vermiglio, the film follows the Graziadei family, headed by ageing schoolteacher Cesare (Ragno), whose household already includes nine children and another on the way. Their precarious existence, shaped by poverty, tradition, and the isolating mountain landscape, is disrupted by the arrival of Pietro (De Domenico), a Sicilian army deserter hiding from the war. Pietro forms a bond with the eldest daughter, Lucia (Scrinzi), whose quiet resilience and sense of duty anchor the family. As winter tightens and wartime pressures creep closer, the family’s routines, loyalties, and long‑held customs are tested, revealing the fragile balance between survival, community, and personal desire.

    Context and Craft

    Vermiglio is a slow-burning historical drama rooted in the rhythms of rural life during the final years of WWII. Delpero draws on stories from her own family history, crafting a narrative that privileges observation over plot and emphasises the textures of daily existence in an isolated mountain community. Critics highlight the film’s visual style: cinematographer Mikhail Krichman shoots the Alps with painterly precision, using natural light to capture the harshness of winter and the tentative renewal of spring. The film explores the intersection of personal and historical upheaval. Pietro’s arrival introduces both danger and possibility, while Lucia’s tentative romance becomes a quiet act of defiance against the constraints of her environment.

    Critical Reception

    • A beautifully observed drama of immense subtlety… Delpero shows phenomenal
      restraint.” — Sight & Sound
    • “Attuned to the consciousness of its time… elegant, clean compositions and graceful
      storytelling.” — Roger Ebert
    • “A visionary film… the Alps provide a breathtaking emotional backdrop.” — Rotten
      Tomatoes

    Conclusion

    Vermiglio is a richly textured, visually striking portrait of a mountain community suspended between tradition and the encroaching realities of war. Delpero’s understated direction and Krichman’s luminous cinematography create a world where silence, landscape, and ritual carry as much weight as dialogue. The film’s emotional power lies in its attention to the ordinary, domestic labour, family tensions, small acts of rebellion, and how these intimate moments reflect broader historical forces.

    Audience Rating: 7.7

    Audience Comments:

    • Beautiful scenery
    • Very slow at times, but very picturesque
    • Great cinematography and very authentic, but incredibly slow
    • Raw, emotional. Excellent casting with very natural performances, but very slow
    • A powerful story and compelling snapshot into rural mountain life during the war
    • Every frame in Vermiglio is like a painting and the characters felt very real. Greatly enjoyed the chance to see it in the cinema when i probably wouldn’t have seen it otherwise!
  • Dead of Winter

    Dead of Winter

    Synopsis

    Dead of Winter follows Barb (Thompson), a solitary Minnesotan fisherwoman grieving a recent loss. While travelling through a remote, snow-choked region, she stumbles upon a kidnapped
    young woman being held in a secluded cabin by an unstable couple (Greer and Menchaca). With no phone signal, lethal weather conditions, and miles of wilderness between her and help,
    Barb becomes the girl’s only chance of survival. Barb’s grief and compassion drive her into a dangerous rescue attempt.

    Context and Craft

    A snowbound kidnapping thriller with echoes of Fargo and “ordinary person becomes action hero” narratives. Critics note the film’s generic thriller framework but highlight how Thompson’s casting subverts expectations and how Kirk’s unobstructive direction emphasises claustrophobia, harsh natural conditions, and escalating peril. Thompson’s portrayal has been widely praised for its grounded toughness and emotional depth. Adopting a faultless Minnesota accent, Thompson plays Barb as “tough but tender,” driven by compassion rather than action-hero bravado. Judy Greer’s performance as the antagonist is snarling and darkly humorous, adding unpredictability to the film’s tone, while the raging blizzard and remote setting serve as additional antagonists.

    Critical Reception

    • “A refreshing little thriller…Judy Greer’s ‘fentanyl lollipop-sucking’ villainy is a standout
      element.” — Independent
    • “Technically polished but increasingly improbable… an icy, generic thriller elevated by
      Thompson’s palpable aura of capability and down-to-earth shrewdness.” — Variety
    • “Deeply moving and tense kidnapping drama.” — Saga Magazine
    • “Both Thompson and Greer for playing “against type… an exhilarating wilderness
      thriller.” — Collider

    Conclusion

    Dead of Winter stands on its performances, especially Emma Thompson’s unexpected and compelling turn as a reluctant action heroine. The film uses its wintry setting to create tension
    and atmosphere, while weaving in themes of grief, compassion, and moral courage. It is widely regarded as a gripping, emotionally resonant thriller elevated by its cast and strong sense of
    place. Barb’s emotional wounds shape her choices and give the thriller a sentimental undercurrent, and the film asks what an ordinary person owes a stranger in danger.

    Audience Rating: 7.1

    Audience Comments:

    • Amazing!
    • Stunning cinematography, realistic, and story was not what I expected.~
    • Thin plot, too much violence, and the premise was poor.
    • Gruesome story, but very well filmed. Emma Thompson does a great role. Not a type of movie I would normally choose to watch.
    • Gripping film with two female protagonists for a change. Great to see an older woman in the lead.
    • Very tense and atmospheric, but a bit one-dimensional.
  • The Marching Band

    The Marching Band

    Synopsis

    Acclaimed conductor Thibaut, diagnosed with leukaemia, discovers he was adopted and seeks a bone marrow donor. His search leads him to Jimmy, a long-lost brother who works in a factory
    cafeteria and plays trombone in a small-town marching band. Their reunion unfolds against the backdrop of industrial decline, as the brothers navigate class divides, family secrets, and the
    healing power of music. What begins as a medical necessity evolves into a fraternal journey of reconciliation and shared passion.

    Context and Craft

    Director Emmanuel Courcol, known for Ceasefire (2016) and The Big Hit (2020), continues his exploration of social realism and human connection. The Marching Band blends comedy
    drama with musical elements, using the metaphor of ensemble performance to highlight themes of solidarity and resilience. Courcol’s restrained direction and Maxence Lemonnier’s
    cinematography emphasize contrasts between the grandeur of orchestral halls and the intimacy of small-town life. The film reflects contemporary French anxieties about industrial
    closures, while celebrating music as a universal language bridging social divides.

    Critical Reception

    Premiered at Cannes 2024, The Marching Band was praised for its warmth and accessibility:

    • Variety: “A heartfelt fraternal drama… music as reconciliation across class and circumstance.”
    • The Hollywood Reporter: “Engaging blend of social realism and musical metaphor… Courcol’s most audience-friendly work yet.”
    • Film Review Daily: “Thoroughly engaging… designed for wide popular appeal, balancing sentiment with sharp observation”.
    • The Observer: “lived-in performances from an engaging cast of French character actors… a closing sequence so shamelessly and cheerfully manipulative that any
      resistance is entirely useless. Bring a family pack of tissues”.

    Conclusion

    Emmanuel Courcol’s The Marching Band is both a family drama and a social parable. Through the story of two estranged brothers united by music, the film critiques economic precarity while
    affirming the possibility of connection across divides. Its blend of humour, tenderness, and musical energy makes it a resonant meditation on fraternity, resilience, and the redemptive power of art.

    Audience Rating: 8.83

    Audience Comments:

    • Best Chester film I’ve seen in quite some time!
    • It had everything!
    • Funny and heartbreaking in equal measure. Loved it but made my heart ache.
    • Heartwarming and wonderful – OK, plot a bit preposterous, but it didn’t matter – music carried film along.
    • Optisimsm always wins
  • Santosh

    Santosh

    Synopsis

    Newly widowed Santosh Saini inherits her late husband’s post as a police constable in rural northern India through a compassionate recruitment scheme. Tasked with investigating the
    disappearance and subsequent murder of Devika, a low-caste teenager, she confronts systemic corruption, sexism, and caste prejudice within the local police. Her mentor, veteran
    Inspector Geeta Sharma, challenges the patriarchal order as they uncover institutional failures.

    Context and Craft

    Originally conceived as a documentary about sexual violence, director Sandhya Suri pivoted to a focused, pared-down crime narrative after seeing images from the 2012 Delhi gang-rape
    protests. Known for documentaries – I For India, Around India With a Movie Camera – Suri’s film is a gritty, minimalist neo-noir, with restrained, muted performances and stark visuals that
    reinforce realism. Santosh explores the intersections of caste, gender, colonial policing legacy, and communal violence.

    Critical Reception

    Cannes 2024, nominated for Un Certain Regard prize; BAFTA nomination for Outstanding Debut; won Seville European Film Festival Best Screenplay. Selected as the UK’s entry for Best
    International Feature at the 97th Oscars, and made the shortlist. Named in the National Board of Review Top 5 International Films 2024:

    • Variety: “fiercely feminist empowerment saga…arias of religion and caste…
      deconstructs police power fantasy”.
    • The Hollywood Reporter: “clear-eyed, moving indictment of New India… subtle
      generational dynamic”
    • Sight & Sound/BFI: “neo-noir… exposes systemic corruption… masculine
      predation”
    • IndieWire: “master class in subtlety… assertion of power in stratified society”.

    Conclusion

    Sandhya Suri’s Santosh melds intimate character exploration and sharp procedural realism to critique institutional injustices in contemporary India. Through Santosh’s quiet internal
    struggle—between surviving as a widow, asserting authority in a male-dominated system, and confronting prejudice—the film highlights the paradox of empowerment within oppressive
    frameworks. Its director’s history of documentary filmmaking lends it an unvarnished visual style and deliberate pacing that amplify its authenticity, making it a poignant meditation on power, caste, and gender.

    Audience Rating: 7.79

    Audience Comments:

    • Very disturbing. Realistic scenes of India.
    • Need time to process it.
    • Intriguing insight into police corruption/butchery.
    • Realistic film inbetween a documentary and a feature.
    • Very interesting portrayal of what life is like for the majority of Indians compared to the elite.
    • A sombre watch.
  • The Girl with the Needle

    The Girl with the Needle

    Synopsis

    Set in post-WWI Copenhagen, The Girl With The Needle follows Karoline (Vic Carmen Sonne), a young factory worker who finds herself unemployed, pregnant, and alone. She is drawn into the
    orbit of Dagmar (Trine Dyrholm), a charismatic woman who runs an underground adoption agency. As Karoline becomes a wet nurse for Dagmar’s clients, a disturbing truth begins to
    unravel. Inspired by a real-life case that shocked Danish society, the film explores the fragile line between care and exploitation, culminating in a chilling revelation that reshapes Karoline’s
    understanding of motherhood, trust, and survival.

    Context and Craft

    Magnus von Horn (Sweat, The Here After) crafts a Gothic psychological horror rooted in historical trauma. Co-written with Line Langebek, the screenplay avoids sensationalism,
    instead focusing on Karoline’s emotional collapse. Michał Dymek’s cinematography evokes a bleak, claustrophobic Copenhagen, with muted tones and shadowy interiors that mirror
    Karoline’s isolation, which is further heightened by Frederikke Hoffmeier’s haunting score. Drawing thematic parallels to The Piano Teacher, the film interrogates systemic cruelty and
    moral ambiguity.

    Critical Reception

    Premiering in competition at Cannes 2024, The Girl With The Needle was Denmark’s submission for Best International Feature at the 97th Academy Awards. It received widespread
    acclaim for its performances and direction, though some found its subject matter overwhelming:

    • “A masterclass in sustained dread, anchored by Vic Carmen Sonne’s devastating
      performance.” — RogerEbert.com
    • “Von Horn’s refusal to center the killer makes this a story about complicity, not
      monstrosity.” — TIME
    • “A film that numbs with its brutality, yet lingers with its moral complexity.” — Cahiers du
      Cinéma

    Conclusion

    The Girl With The Needle is a harrowing meditation on vulnerability, power, and historical violence. By centring Karoline rather than the infamous Dagmar Overbye, von Horn reframes the narrative as one of systemic failure and personal reckoning. The film’s austere style and emotional restraint challenge viewers to confront the horror not in spectacle, but in silence. As with our last film Misericordia, this is cinema that refuses easy catharsis, instead offering a stark portrait of human darkness shaped by circumstance

    Audience Rating: 7.76

    Audience Comments:

    • Excellent – how much can one woman endure?
    • Harrowing, amazing, acting.
    • Gripping and disturbing.
    • Black and white very effective.
    • Interesting. Shocking twist
    • Frightening
    • Beautifully made.
    • Pretty bleak subject matter!