Soon the Chiltern Hills will be draped in beautiful orange and brown tones, and the smell of illegal bonfires will be rising from allotments across the county. So, hang that pinecone and berry wreath on your door (and watch as it’s blown down the street by the latest hurricane with a cutesie name), take Insta-worthy pictures of you and the family, and prerequisite dog, larking about on a muddy Sunday in Ashridge forest (before cursing yourselves upon arriving back at the car, that you’ve left your clean trainers on the mat in the hall), and snuggle into your favourite long sleeved top while drinking a warm, spiced beverage in a sustainable cup (before having to immediately strip down to your vest as the temperature unexpectedly rockets to 35 degrees). September has arrived – and the 57th Season of the Chiltern Film Society is officially back in business!
No Wall Flower
The Chiltern Film Society’s latest season opened on 17th September with Hard Truths (2024), the latest offering from veteran British director, Mike Leigh. (Although he grew up in the North of England, he was actually born in the then maternity hospital at Brocket Hall, Welwyn Garden City – so let’s call him a local(ish) lad…).
Marianne Jean-Baptise turns in a powerhouse performance as Pansy, a bitter and spikey woman, whose deep-rooted grief, anxiety and undiagnosed depression has corroded any joy and happiness, and manifested into a bile of raging toxicity, severely affecting her mental health and every personal interaction that she encounters.
Pansy’s husband, Curtley, (David Webber), is a plumber and the financial provider for the family. Moses (Tuwaine Barrett), their unemployed adult son, also lives at home, and may or may not be neurodivergent. Both Curtley and Moses creep around on eggshells in their pristine suburban house, but still frequently find themselves on the receiving end of Pansy’s wrath.
It is only Pansy’s sister, Chantelle, (Michele Austin providing some light relief and joy) who can offer some solace and emotional salvation to the Pansy’s inner turbulence. From the outside, Chantelle, a single mother who works full time in a thriving hair salon, might be viewed as the one with more reason to be angry or depressed, but her flat is light and vibrant and her adult daughters are successful and enjoy coming home for family time.
Hard Truths is at times a difficult watch, as Jean-Baptise’s award nominated central performance is so unrelentingly vociferous. The film’s tone is a huge contrast to some of Leigh’s earlier work, including Another Year (2010), Nuts In May (1976), Secrets and Lies (1996 – also starring Jean-Baptise) and Happy-Go-Lucky (2008) – where optimistic primary school teacher, Sally ‘Awkins, has her bike stolen, and merely shrugs, lamenting that she never got a chance to say goodbye. If the same had happened to Pansy, she would be charging down to the police station, demanding the deployment of blood hounds – or at least declaring that she had a fair mind to do so.
Not Going Anywhere
CFS’s second film of the season (screened at The Elgiva on Wednesday 24th September) also features a strong matriarch, and documents a different type of domestic turmoil.
Initially set in Rio De Janeiro in 1970 at the time of the military dictatorship, I’m Still Here (2024) explores the lives of the Pavias family. Homemaker Eunice (Fernanda Torres), and ex politician turned civil engineer Rubens (Selton Mello), have a comfortable and happy life with their five children, live-in maid, and a newly acquired dog, in a town house near the beach. Ominous tones of political unrest play out menacingly in the background while the family celebrate the Christmas holidays together. Fearing the consequences of the simmering political climate, eldest daughter Vera (Valentina Herzage), is sent to stay in London with family friends, with the idea that the rest of the family will join her at a later date. Nationally, tensions continue to rise but all is relatively calm until one evening, when there is a knock at the door and a group armed men arrive and quietly escort Rubens away from the family home.
The remainder of the film is the fallout of Ruben’s disappearance and the dignified strength of Eunice as she bravely battles to seek the truth about what has happened to her husband, whilst continuing to love, protect and support her five vulnerable children.
I’m Still Here is based on the autobiography of Eunice’s son, Marcelo Rubens Paiva (Guilherme Silveria). Directed by Walter Salles, the film has received many awards, including Best International Feature at the Oscars – an outstanding achievement, particularly as it was Brazil’s first nomination in this category. Torres received praise, internationally, for her portrayal of a woman trying to hold everything together while fighting a shadowy foe. Unlike Pansy in Hard Truths, Eunice’s grief and anger is internalised, apart from in one pivotal scene where she is literally pushed to her limits. Rage and outbursts will not help her children and will not get Eunice closer to the truth about knowing Ruben’s fate. Instead, she carries on fighting with practical determination, showing grit and compassion when required, and doing her best with the resources that she has.
Like Hard Truths, I’m Still Here is sometimes a difficult watch. An underlying sense of dread runs throughout – the interrogation scene skilfully depicts peril, with neither the protagonists nor the audience knowing how long the intimidation will last for, or which information can be trusted. It’s a very powerful film and one which will stay with you. The story is set 50 years ago, but remains particularly relevant today, as it has a lot to say about the value and importance of freedom of speech and political expression.
Diamonds are Forever
The CFS has celebrated many strong, female characters in films over the seasons, and it is heartening to know that internationally, the narrative does not stop when a woman reaches her forties. Among the films it has shown featuring older women in lead roles are: After Love (2020), The Taste Of Things (2023), A Quiet Passion (2016), Lucky Grandma (2019), Ali and Ava (2021) and most of the back catalogue of Isabelle Huppert (you know who you are, committee members…).
With perimenopause and menopause symptoms finally being acknowledged as conditions to be taken seriously, and social media groups like the We Do Not Care Club expressing their frustration with being ignored for so long, it feels about time that women of a certain age got some recognition. Even Hollywood seems to be slowly catching up, with bankable female stars forming their own production companies, and greenlighting interesting projects that they want to both make and watch.
In addition, the patronisingly named ‘grey pound’ has proved to be both strong and influential in putting older actors on the screen.
The Best Exotic and Book Club franchises, Mama Mia (2008) (okay, this one is for everybody), 80 For Brady (2023), the Downton Abbey series and, the recent Thursday Murder Club (2025) on Netflix (Pierce Brosnan as Ron? Was Ray Winstone not available? – no I haven’t seen it yet, and no disrespect to 007, but I stand by my casting choice), prove that once you are over a certain age, there is more choice available that to just play someone’s gran.
And Finally…
We lost one of Hollywood’s legends recently. Robert Redford sadly passed away at home on his ranch in Utah, aged 89.
Redford was the ultimate American star, able to play roles with charm, charisma, pathos and wonderful comic timing as well as staring in serious drama and gripping thrillers. His memorable movie pairings included playing opposite Barbra Streisand in The Way We Were (1973), Jane Fonda in several films, including Barefoot in the Park (1967) and Our Souls At Night (2017) (for the love of Nora Ephron, were there no proof readers around during that meeting?) and with his great friend and partner in crime Paul Newman in Butch Cassidy and The Sundance Kid (1969), and The Sting (1973). He had a long and successful acting career – making his last film, The Old Man and the Gun in 2018.
Reford was also an acclaimed director, and won an Oscar for his first outing for Ordinary People (1980). He was an environmental activist, generous in helping new talent in the industry and was responsible for founding the Sundance Film Festival, which showcases the work of American and International independent film makers.
When reading the obituaries, everyone Robert Redford worked with had only good things to say about him. He was a fine talent, someone who cared about lifting others up, and a thoroughly decent human. And particularly in these turbulent times, that’s something we should all aspire to be.
Good night, Bob, thank you for all your sparkle.
And with that, I’ll see you all at the movies.
Sarah
Information about the Chiltern Film Society can be found HERE
