Hidden (March 2012)

Chosen by Jeani and Tom

The film
An Austrian-French 2005 film (originally Caché). Georges is a tv literary chat-show host, his wife Anne works in publishing and their 12-year-old son Pierrot is 'on the verge of puberty'. They begin to receive surveillance videotapes of their home, delivered anonymously. The tapes become more complex and lead George to the home of Majid, who he knew as a child. It emerges that Majid's parents had worked for George's wealthy family. They died in the Paris massacre of Algerians in 1961, and George's parents planned to adopt Majid; but six-year-old George became jealous and manipulated his departure. To this day, George is defensively guilty about this episode.

The response
What a memorable film! One of us 'didn't like it'; some had mixed views; some enjoyed it. But is that how we judge a film? Everyone was intrigued by the plot; the characters; the agonisingly long, lingering shots. Confused, powerful-victim-in-denial-Georges; bemused, angry, distant Anne; deeply unhappy Majid. How do their confusions translate to their sons' lives? (We might think we know, until the final lingering shot which confuses the viewer even more). Who's watching whom? When are we - the viewer - watching 'reality' and when are we watching a 'film'? Whether it's how one is feeling, or a major human rights abuse such as the Paris massacre of Algerians in 1961- how complicit is anyone in hiding the truth?

Pleasantville (Feb 2012)

Chosen by Nigel

The film
Introverted geek David and his extrovert, shallow sister Jennifer find themselves transported to 'Plesantville', a black-and-white 1958 sitcom. They agree to stay 'in character' but can't help bringing insights, new thinking and thus - gasp! - colour to the town. Along with liberated sexuality, the townspeople also discover restrictive laws, racial ('colour') segregation and hate crimes. Once the most resistant citizen becomes 'coloured' equilibrium is restored - with a comfortable amount of uncertainty. David and Jennifer also find themselves - he has learnt how to stand up to bullies and returns to the modern world; she realises she wants an education and stays behind, at least for now.

Oleanna (Jan 2012)

Chosen by Bruce

The Film
Made in 1994 by David Mamet, and based on his stage play, with two characters and three acts. Carol is failing her college course and confronts her teacher John - during a difficult discussion he repeatedly takes phone calls from his wife, but tells Carol he understands her and, if she comes to him for tuition, will help her learn. Carol accuses John of sexual harassment and his career falls apart. Eventually, a broken man, he actually assaults her.

The response
With some notable exceptions, most of us disliked this film. We wanted a more narrative exploration of the issues, rather than a claustrophobic play translated to the screen. Long philosophical monologues weren't always easy to follow. The film seemed dated, and more than 20 years old. We didn't like either of the characters. But it was powerful - and Jocelyn (who thought it was great), Bruce and Sue had watched it 3 times.

The plot itself provoked fierce arguments. Was Carol really not very bright (or even autistic)? Some of us saw John as a victim; others thought he was an insensitive boor who thought he had a right to a comfortable life. Were we wrong to talk of his actions as 'rape' - is it OK to use the term as a metaphor? Did the film touch on current changes in British Universities - with students, paying increasingly high fees, expecting academics to provide a decent education? And where might John and Carol both be now, eighteen years on - is she a lost soul or a professor?

I've Loved You So Long (December 2011)

Chosen by Lucy and Tony

In a break from tradition, we made the most of the Christmas holidays to watch this film together.

The film
Kristin Scott Thomas plays Juliette, a forty-something woman who comes to live with her younger sister Léa, (Elsa Zylberstein). Juliette is grey, gawky, withdrawn - in contrast with Léa's vibrant life (especially her brilliantly-played older daughter). Gradually, subtly, we find out why the two have been parted for so long.

The response
The verdict: 'gripping'. True, not everyone was wholly convinced by the story-line, wondering whether Juliette's family really would have been oblivious to the situation she was in. And some of us spent the film waiting for a terrible denouement. But overall we found ourselves drawn into this carefully-crafted (and beautifully-filmed) depiction of pain, love, death and life.

This was another film that prompted questions. How well do we know the people we are closest to? What characterises sibling relationships? What is a 'criminal' act? How can people carry on living after experiencing terrible things? Perhaps it's enough to notice beautiful and meaningful things - as the sisters, together, recognised beauty and hope in a rain-covered windowpane.

Happy Go Lucky (November 2011)

Chosen by Juliet & Andi

The film
Mike Leigh had to make an appearance in our film club before too long. We could have chosen any of his films, only ending up with this one because it had been sitting in J&A's (tiny) DVD stash. Poppy (Sally Hawkins) is a 30-year-old Londoner with a relentlessly positive approach to life. An increasingly tense relationship with her driving instructor weaves through the film - between flamenco lessons, helping a troubled pupil and visiting her pregnant sister.

The response
The film, released in 2008, won acclaim from the professional critics (and many awards); but got a less positive response from our film club members. A minority thought Poppy likeable and sympathetic; most found her profoundly irritating. They criticised her for misleading Scott the driving instructor, saying she flirted unnecessarily with a vulnerable guy (by contrast, her sympathisers thought he was creepy and deserved her dressing-down). In particular, most of us despaired at the shallow conversation - nobody in the film really engaged with each other.

Maybe Mike Leigh's improvisational style made it difficult for the characters to become real and engage deeply with each other? Certainly, some of us thought so, although others enjoyed the 'kitchen-sink realism'. In any case, this was a film that kept us arguing happily all evening.

Lost in Translation (October 2011)

Chosen by Katherine & Danny

The film
2003 film starting Bill Murray and Scarlett Johansson, set in Tokyo.

Annie Hall (Sept 2011)

Chosen by Tom & Jeani

The film
This month, a Woody Allen 1977 classic. Iconic images (that hat! that waistcoat! that smile!) wrapped around with Woody Allen's one-liners. The film follows Alvy Singer's on-off and ultimately doomed relationship with Annie Hall.

The response
The iconic nature of the film really got us talking. When and where we'd first watched it. How New York is used as a character (forerunner of 'Manhattan') but also how run-down the city was in the 1970s - nothing like its glittering image today. How Annie was, to some of us, wonderful and strong; to others irritatingly fey. Some of us found the introspection too much, but 'isn't that what we all do - spend all our time thinking about ourselves?' The family scenes (argumentative meals, framed by the shaking of the rollercoaster) seemed particularly resonant and funny.

Of course, the film is by and about Woody Allen. B was unimpressed - he pretty much dismissed the film as no more than a re-run of the stand-up comedian's routines. J thought the director is a genius at illustrating and exploring what really happens in relationships. N admitted he couldn't stand Woody Allen, but confessed to having once sat through an all-nighter of Woody Allen films at the old Leeds Playhouse ...