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FOR CRYING OUT ALLOWED: Notes on a Scandal

FOR PARENTS MAROONED WITH THEIR BABIES, STARVED OF THE CHANCE TO SEE EXCELLENT FILMS FOR MONTHS ON END, COMES FOR CRYING OUT ALLOWED. ONCE A MONTH, THE IFI WILL PUT ON A SPECIAL SCREENING FOR PARENTS-WITH BABIES.
Simply bring your bundle with you, park your buggy or pram with us, and enjoy the best film we have on that week. As the title suggests, there is no need to worry about the noise. Baby-changing facilities are provided, and we have a cafe for lunch afterwards. Babies must be 12 months or younger, and adults pay normal admission price. TO GET AN EMAIL ALERT ON THE NEXT SCREENING, PLEASE CLICK HERE

This month we screen ‘Notes on a Scandal’. A WITTY, ACERBIC AND ENTERTAINING ADAPTATION OF ZOE HELLER’S NOVEL, WHAT WAS SHE THINKING: NOTES ON A SCANDAL, WITH A WICKED SCREENPLAY BY PLAYWRIGHT PATRICK MARBER (CLOSER).
Director Richard Eyre (Iris) elicits ripe but riveting performances from Judi Dench and Cate Blanchett, in what he calls ‘a story of friendships and sexual intoxications . . . of two women in the grip of their own self-destructive, uncontrollable passions.’
Judi Dench’s Barbara Covett is a waspish, domineering teacher at a run-down London secondary school: although a self-proclaimed ‘battleaxe’, she is also a sad, lonely and desperate spinster. When attractive, vulnerable art teacher Sheba Hart (Blanchett) joins the staff, Barbara becomes obsessed with the idea of their enjoying a passionate lifelong friendship. When the manipulative, lovelorn Barbara discovers that Sheba is having a reckless sexual affair with one of her 15-year-old pupils, Stephen Connolly (Derry-born actor Andrew Simpson), we expect her to react with jealous spite. Instead, more deviously, she exploits this knowledge to secure Sheba’s conspiratorial acquiescence. ‘Now more than ever,’ she remarks coolly, ‘we are bound by the secrets we share.’ In Notes on a Scandal, Eyre achieves an engrossing mix of thriller-like suspense, complex emotional drama, black humour and wry social observation.—Nigel Floyd.

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