Emily is a 2022 British biographical drama film written and directed by Frances O'Connor in her directorial debut. It is a part-fictional portrait of English writer Emily Brontë (played by Emma Mackey), concentrating on a fictional romantic relationship with the young curate William Weightman. Fionn Whitehead, Oliver Jackson-Cohen, Alexandra Dowling, Amelia Gething, Adrian Dunbar and Gemma Jones appear in supporting roles.

Emily premiered at the 2022 Toronto International Film Festival before being theatrically released in the United Kingdom by Warner Bros. Pictures on 14 October 2022.

Faces Places is a 2017 French documentary film directed by renowned filmmaker Agnès Varda and artist JR. The film documents the duo as they journey through rural France, capturing the portraits of the people they meet along the way. Their collaborative process leads them to create large-scale portraits, which are then displayed on buildings and other public spaces, leaving a profound impact on both the subjects and the communities they visit.

The film was screened out of competition at the 2017 Cannes Film Festival, where it earned critical acclaim and won the L'Œil d'or award, which is given for the best documentary.

At the 90th Academy Awards, Faces Places was nominated for Best Documentary Feature. Notably, it was Agnès Varda's second-to-last cinematic work before her death. The film is an exploration of art, human connection, and the power of shared experiences, bridging generational and cultural gaps through the simple act of portraiture.

Escape to the countryside with Frederick Ashton’s ballet about a capricious girl who hopes to marry her love. Brimming with humour and choreographic invention, La Fille mal gardée is the perfect ballet for all the family.

Portrait of a Lady on Fire is a 2019 French historical romantic drama film written and directed by Céline Sciamma, starring Noémie Merlant and Adèle Haenel. Set in France in the late 18th century, the film tells the story of a brief affair between two young women: an aristocrat and a painter commissioned to paint her portrait. It was Haenel's final film role before retiring from the film industry in 2023.

Portrait of a Lady on Fire was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival. The film won the Queer Palm at Cannes, becoming the first film directed by a woman to win the award. Sciamma also won the award for Best Screenplay at Cannes. The film was theatrically released in France on 18 September 2019.

It was nominated for Independent Spirit Awards, Critics' Choice Awards and Golden Globe Awards for Best Foreign Language Film and was chosen by the National Board of Review as one of the top five foreign language films of 2019. The film was one of three shortlisted by the French Ministry of Culture to be France's submission to the 92nd Academy Awards for Best International Feature Film.

Portrait of a Lady on Fire was voted the 30th greatest film of all time in the Sight & Sound 2022 critics' poll. It has also been considered one of the best films of 2019, the 21st century, and of all time.

With its enchanting setting and spellbinding score, the world’s most popular opera is as timeless as it is heartbreaking. Franco Zeffirelli’s picture-perfect production brings 19th-century Paris to the Met stage as Puccini’s young friends and lovers navigate the joy and struggle of bohemian life. Sopranos Juliana Grigoryan, Angel Blue, and Aleksandra Kurzak trade off as the feeble seamstress Mimì, opposite tenors Freddie De Tommaso, Stephen Costello, Adam Smith, and Long Long as the ardent poet Rodolfo.

Royal British Legion Parade from War Memorial to Pembridge Church led by Keith the Piper.

Pembridge Primary School Remembrance Service at the War memorial, West Street. Parents and friends welcome.

Open Morning at Pembridge CE Primary School, Bearwood Lane, 9am -12 noon.

Book a visit 01544 388366. www.pembridgeprimary.org.uk

Over 40 stalls selling, art, crafts and gifts

Strauss’s elegant romance brings the glamour and enchantment of 19th-century Vienna to the Met stage in a sumptuous production by legendary director Otto Schenk that “is as beautiful as one could hope” (The New York Times). Compelling soprano Rachel Willis-Sørensen makes her role debut as the title heroine, a young noblewoman in search of love on her own terms. Soprano Louise Alder makes her Met debut as her sister, Zdenka, and bass-baritone Tomasz Konieczny is the dashing count who sweeps Arabella off her feet.

Four Letters of Love is a 2024 drama film directed by Polly Steele. It is written by Niall Williams, who adapted his book of the same name. It stars Pierce Brosnan, Helena Bonham-Carter, and Gabriel Byrne.

Nicholas and Isabel seem to be made for each other but forces outside of them seem to be working against them...will they be able to come together, despite it all?

The magician Herr Drosselmeyer is on a quest to save his nephew. Hans-Peter has been transformed into a Nutcracker doll by the wicked Queen of the Mice; the only way to break the spell is for the Nutcracker to defeat the Mouse King and find a girl to love and care for him. A flicker of hope comes to Drosselmeyer in the form of the young Clara, whom Drosselmeyer meets at the Stahlbaum’s Christmas party. With a swish of Drosselmeyer’s cape and a little bit of magic, a cosy festive gathering turns into a marvellous adventure.

The story is based loosely on the life of the French poet André Chénier (1762–1794), who was executed during the French Revolution. The character Carlo Gérard is partly based on Jean-Lambert Tallien, a leading figure in the Revolution.

The opera is set in the English Civil War of Puritans versus Royalists. While taking many liberties with history, it is set against a background that was a universal idea and very familiar to Italians in Bellini’s time. The bel canto composers explored with powerful results the relationship of civil strife and individual madness: Donizetti’s Lucia di Lammermoor works with a similar, if slightly less explicit, format.

At one of her lavish parties, the celebrated Parisian courtesan Violetta is introduced to Alfredo Germont. She has just returned to public life following a period of illness, and is touched by Alfredo’s concern. The two instantly fall in love, and Alfredo asks Violetta to join him in the countryside. Though hesitant to leave behind her life of luxury and freedom, she agrees, following her heart. After three months of living with Alfredo, Violetta, alone at the house, receives an unexpected visit from his father, Giorgio Germont, who persuades her to give up Alfredo to save the Germont family from scandal. Though heartbroken at the thought of leaving Alfredo, Violetta eventually agrees. Rather than return to his family home, Alfredo follows Violetta to Paris. But when he finds her with her former protector Baron Douphol, tensions erupt. With Violetta’s health increasingly fragile, will it be too late for Alfredo to make amends?

In the ballet, each act represent one of Woolf's novels. The three acts, titled "I now, I then", "Becomings" and "Tuesday" are inspired by Mrs. Dalloway, Orlando and The Waves respectively.

I now, I then (from Mrs Dalloway)  

Mrs Dalloway, Woolf’s 1925 stream of consciousness novel, is set over the course of one day and alternates between two stories: a society hostess preparing for an important party and a shell-shocked war veteran on his way to a psychiatric assessment. Though they never meet, both Clarissa, the protected insider and Septimus, the social outcast, are haunted by the past. Opening with an excerpt from Woolf’s recorded essay, On Craftsmanship, I now I then is a journey into the writing of Mrs Dalloway, interweaving narrative fragments from the novel with aspects of Woolf’s autobiography including the experience of drawing on her own mental illness as subject matter. 

Becomings (from Orlando) 

‘on or about December 1910 human nature changed’ – Virginia Woolf  

Written in an epoch of recalibration in every sphere including the roles and rights of women, modes of representation in art and literature, and rapid advances in cosmology, Woolf’s iconoclastic 1928 novel Orlando centres around a fantastical figure who journeys through three hundred years without growing old, and changes sex along the way. Relationships prove transient, even with himself, while relativity and plasticity define her experience of time and space. Becomings presents Orlando’s dizzying wide-angle vision of a vast, ever-altering universe in which life is energy passing through a multiplicity of forms – a brief, gorgeous flaring of insect wings, gestating, emerging, extinguishing and moving on. 

Tuesday (from The Waves) 

Grand and elegiac, The Waves (1931) is Woolf’s most experimental novel, conceived in response to her own childlessness and the contrasting fierce maternity of her sister Vanessa. In the novel, the voices of six people growing from childhood to old age are punctuated by symbols of natural decay and renewal, the most important of which is the ever-returning sea. Responding to Woolf’s unique fascination with underwater imagery in all her writing, Tuesday merges themes of The Waves with a portrayal of the writer’s suicide by drowning. As Woolf counts her steps towards the river Ouse and her final journey, so too the world of her novel moves towards abstraction and silence.

The peasant girl Giselle discovers the true, high-born identity of her lover Albrecht – and that he is promised to another. In despair at the revelation of Albrecht’s infidelity, Giselle kills herself. Her soul enters the ranks of the Wilis – shades of young women who died before their wedding day. All men that come across their path are compelled to dance themselves to death, and Albrecht falls into their trap. Through Giselle’s love from beyond the grave her intercession saves him and also releases her soul from the Wilis’ power.

After years of anticipation, a truly unmissable event arrives as the electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. The momentous occasion also marks the advent of a new, Met-debut staging by Yuval Sharon—hailed by The New York Times as “the most visionary opera director of his generation” and the first American to direct an opera at the famed Wagner festival in Bayreuth—as well as Music Director Yannick Nézet-Séguin’s first time leading Tristan und Isolde at the Met. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

From darkness to destiny

Raised by a scheming dwarf and unaware of his true family origins, a young man embarks on an epic journey. His destiny soon brings him face-to-face with a shattered sword, a fearsome dragon and the cursed ring it guards, and a Valkyrie forced into enchanted slumber...

Prince Tamino promises the Queen of the Night that he will rescue her daughter Pamina from the enchanter Sarastro. He begins his quest, accompanied by the bird-catcher Papageno – but all is not as it seems…

Tamino and Papageno discover Sarastro is a wise and kind leader. They undergo three ordeals. By the end they are united with their true loves: Tamino with Pamina, and Papageno with his Papagena.

Pushkin presents a vast overview of old Russian society around 1820, which Tchaikovsky’s original score neatly divides into each of its three acts: from the timeless rituals of country life to the rural gentry with its troubles and pleasures and, finally, the glittering imperial aristocracy of St. Petersburg. The Met’s production places the action in the later 19th century, around the time of the opera’s premiere.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.