{"id":1326,"date":"2026-06-05T13:04:08","date_gmt":"2026-06-05T13:04:08","guid":{"rendered":"https:\/\/berwickfilmsociety.co.uk\/?page_id=1326"},"modified":"2026-06-05T13:13:53","modified_gmt":"2026-06-05T13:13:53","slug":"past-films-archive","status":"publish","type":"page","link":"https:\/\/berwickfilmsociety.co.uk\/index.php\/past-films\/past-films-archive\/","title":{"rendered":"Past Films archive"},"content":{"rendered":"

Audience responses for 2016-2023<\/h4>\n

Return to the table of responses to our most recent films here<\/a>.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2023 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nTotal Votes<\/td>\nPositive Response<\/td>\n<\/tr>\n
Undine\u00a0 (2020)<\/span><\/td>\n23<\/td>\n46<\/td>\n21<\/td>\n5<\/td>\n95<\/td>\n73%<\/td>\n<\/tr>\n
Playground \/ Un monde (2021)<\/span><\/td>\n25<\/td>\n31<\/td>\n20<\/td>\n9<\/td>\n85<\/td>\n71%<\/td>\n<\/tr>\n
The Good Boss \/ El buen patr\u00f3n (2021)<\/span><\/td>\n65<\/td>\n41<\/td>\n4<\/td>\n1<\/td>\n111<\/td>\n88%<\/td>\n<\/tr>\n
Lingui, the sacred bonds\u00a0 (2021)<\/span><\/td>\n38<\/td>\n39<\/td>\n4<\/td>\n0<\/td>\n81<\/td>\n85%<\/td>\n<\/tr>\n
Lunana: a yak in the classroom\u00a0 (2019)<\/span><\/td>\n90<\/td>\n16<\/td>\n2<\/td>\n0<\/td>\n108<\/td>\n95%<\/td>\n<\/tr>\n
The Big Hit \/ Un triomphe (2020)<\/span><\/td>\n70<\/td>\n31<\/td>\n4<\/td>\n1<\/td>\n106<\/td>\n90%<\/td>\n<\/tr>\n
Official Competition \/ Competencia oficial (2022)<\/span><\/td>\n39<\/td>\n36<\/td>\n12<\/td>\n4<\/td>\n91<\/td>\n80%<\/td>\n<\/tr>\n
Decision to Leave \/ Heojil kyolshim (2022)<\/span><\/td>\n14<\/td>\n26<\/td>\n20<\/td>\n20<\/td>\n80<\/td>\n61%<\/td>\n<\/tr>\n
Love according to Dalva (2022)<\/span><\/td>\n42<\/td>\n23<\/td>\n5<\/td>\n1<\/td>\n71<\/td>\n87%<\/td>\n<\/tr>\n
The Eight Mountains \/ Le otto montagne (2022)<\/span><\/td>\n54<\/td>\n38<\/td>\n3<\/td>\n1<\/td>\n96<\/td>\n88%<\/td>\n<\/tr>\n
Broker \/ Beurokeo (2022)<\/span><\/td>\n35<\/td>\n38<\/td>\n17<\/td>\n4<\/td>\n94<\/td>\n78%<\/td>\n<\/tr>\n
Perfumes \/ Les Parfums\u00a0 (2019)<\/span><\/td>\n85<\/td>\n24<\/td>\n4<\/td>\n2<\/td>\n115<\/td>\n92%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click the image for the Season brochure January – May 2023<\/a> (PDF):<\/p>\n

\"Brochure<\/a><\/p>\n

Click the image for the Season brochure September – November 2023<\/a> (PDF):<\/p>\n

\"2023<\/a><\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2022\u00a0 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nTotal Votes<\/td>\nPositive Response<\/td>\n<\/tr>\n
I’m Your Man \/ Ich bin dein Mensch\u00a0 (2021)<\/span><\/td>\n61<\/td>\n27<\/td>\n6<\/td>\n1<\/td>\n95<\/td>\n89%<\/td>\n<\/tr>\n
After Love\u00a0 (2020)<\/span><\/td>\n45<\/td>\n40<\/td>\n13<\/td>\n1<\/td>\n99<\/td>\n83%<\/td>\n<\/tr>\n
You Will Die at 20\u00a0 (2019)<\/span><\/td>\n15<\/td>\n34<\/td>\n13<\/td>\n3<\/td>\n65<\/td>\n73%<\/td>\n<\/tr>\n
Gagarine\u00a0 (2020)<\/span><\/td>\n21<\/td>\n28<\/td>\n13<\/td>\n4<\/td>\n66<\/td>\n75%<\/td>\n<\/tr>\n
C’est la vie \/ Le Sens de la f\u00eate\u00a0 (2017)<\/span><\/td>\n61<\/td>\n20<\/td>\n1<\/td>\n0<\/td>\n82<\/td>\n93%<\/td>\n<\/tr>\n
The Invisible Life of Euridice Gusmao \/ A vida invisivel\u00a0 (2019)<\/span><\/td>\n29<\/td>\n27<\/td>\n6<\/td>\n0<\/td>\n62<\/td>\n84%<\/td>\n<\/tr>\n
The Real Charlie Chaplin\u00a0 (2021)<\/span><\/td>\n22<\/td>\n33<\/td>\n11<\/td>\n1<\/td>\n66<\/td>\n79%<\/td>\n<\/tr>\n
Luzzu\u00a0 (2021)<\/span><\/td>\n27<\/td>\n40<\/td>\n8<\/td>\n3<\/td>\n78<\/td>\n79%<\/td>\n<\/tr>\n
Benediction\u00a0 (2021)<\/span><\/td>\n48<\/td>\n27<\/td>\n12<\/td>\n1<\/td>\n88<\/td>\n85%<\/td>\n<\/tr>\n
Parallel Mothers \/ Madres paralelas\u00a0 (2021)<\/span><\/td>\n52<\/td>\n28<\/td>\n5<\/td>\n1<\/td>\n86<\/td>\n88%<\/td>\n<\/tr>\n
Everything Went Fine \/ Tout s’est bien pass\u00e9\u00a0 (2021)<\/span><\/td>\n28<\/td>\n15<\/td>\n4<\/td>\n1<\/td>\n48<\/td>\n86%<\/td>\n<\/tr>\n
Wild Men \/ Vildm\u00e6nd\u00a0 (2021)<\/span><\/td>\n42<\/td>\n31<\/td>\n13<\/td>\n4<\/td>\n90<\/td>\n81%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click the image for the Season brochure January – May<\/a> (PDF):<\/p>\n

\"Brochure<\/a><\/p>\n

Click the image for the Season brochure September – November<\/a> (PDF):<\/p>\n

\"FrontCover2022b<\/a><\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2019\/20 [2021]\u00a0 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nTotal Votes<\/td>\nPositive Response<\/td>\n<\/tr>\n
Everybody Knows \/ Todos lo saben\u00a0 (2018)<\/span><\/td>\n89<\/td>\n78<\/td>\n17<\/td>\n2<\/td>\n186<\/td>\n84%<\/td>\n<\/tr>\n
Cold War \/ Zimna wojna\u00a0 (2018)<\/span><\/td>\n84<\/td>\n78<\/td>\n27<\/td>\n2<\/td>\n191<\/td>\n82%<\/td>\n<\/tr>\n
Capernaum \/ Capharna\u00fcm\u00a0 (2018)<\/span><\/td>\n120<\/td>\n37<\/td>\n3<\/td>\n1<\/td>\n161<\/td>\n93%<\/td>\n<\/tr>\n
Woman at War \/ Kona fer \u00ed str\u00ed\u00f0\u00a0 (2018)<\/span><\/td>\n114<\/td>\n58<\/td>\n17<\/td>\n1<\/td>\n190<\/td>\n88%<\/td>\n<\/tr>\n
Yuli\u00a0 (2018)<\/span><\/td>\n123<\/td>\n39<\/td>\n6<\/td>\n3<\/td>\n171<\/td>\n91%<\/td>\n<\/tr>\n
The Guilty \/ Den skyldige\u00a0 (2018)<\/span><\/td>\n134<\/td>\n55<\/td>\n9<\/td>\n2<\/td>\n200<\/td>\n90%<\/td>\n<\/tr>\n
The Beaches of Agnes \/ Les Plages d’Agn\u00e8s\u00a0 (2008)<\/span><\/td>\n32<\/td>\n39<\/td>\n23<\/td>\n4<\/td>\n98<\/td>\n75%<\/td>\n<\/tr>\n
Styx\u00a0 (2018)<\/span><\/td>\n63<\/td>\n72<\/td>\n32<\/td>\n7<\/td>\n174<\/td>\n77%<\/td>\n<\/tr>\n
+ Autumn 2021<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Minari\u00a0 (2020)<\/span><\/td>\n33<\/td>\n36<\/td>\n4<\/td>\n1<\/td>\n74<\/td>\n84%<\/td>\n<\/tr>\n
3 Faces \/ Se rokh (2018)<\/span><\/td>\n24<\/td>\n41<\/td>\n26<\/td>\n3<\/td>\n94<\/td>\n73%<\/td>\n<\/tr>\n
Limbo\u00a0 (2020)<\/span><\/td>\n35<\/td>\n35<\/td>\n17<\/td>\n1<\/td>\n88<\/td>\n80%<\/td>\n<\/tr>\n
The Truffle Hunters\u00a0 (2020)<\/span><\/td>\n26<\/td>\n36<\/td>\n14<\/td>\n0<\/td>\n76<\/td>\n79%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click here to see the season brochure<\/a> (PDF).\u00a0 The season was disrupted by the Covid-19 lockdown and some programme changes were made when screenings resumed in Autumn 2021: details here<\/a>.<\/p>\n

\"Front<\/a><\/p>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2018\/2019\u00a0 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nTotal Votes<\/td>\nPositive Response<\/td>\n<\/tr>\n
A Fantastic Woman \/ Una mujer fant\u00e1stica\u00a0 (2016)<\/span><\/td>\n72<\/td>\n82<\/td>\n31<\/td>\n7<\/td>\n192<\/td>\n79%<\/td>\n<\/tr>\n
J\u00een\u00a0 (Turkey, 2013) BFMAF screening<\/em><\/span><\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n<\/tr>\n
Custody \/ Jusqu’\u00e0 la garde\u00a0 (2017)<\/span><\/td>\n97<\/td>\n49<\/td>\n4<\/td>\n2<\/td>\n152<\/td>\n90%<\/td>\n<\/tr>\n
Lost in Paris \/ Paris pieds nus\u00a0 (2016)<\/span><\/td>\n71<\/td>\n67<\/td>\n22<\/td>\n7<\/td>\n167<\/td>\n80%<\/td>\n<\/tr>\n
In Between \/ Bar Bahar\u00a0 (2016)<\/span><\/td>\n66<\/td>\n76<\/td>\n24<\/td>\n3<\/td>\n169<\/td>\n80%<\/td>\n<\/tr>\n
Scribe \/ La M\u00e9canique de l’ombre\u00a0 (2016)<\/span><\/td>\n73<\/td>\n70<\/td>\n44<\/td>\n6<\/td>\n193<\/td>\n77%<\/td>\n<\/tr>\n
The Square\u00a0 (2017)<\/span><\/td>\n40<\/td>\n66<\/td>\n45<\/td>\n11<\/td>\n162<\/td>\n71%<\/td>\n<\/tr>\n
Faces Places \/ Visages Villages\u00a0 (2017)<\/span><\/td>\n111<\/td>\n46<\/td>\n5<\/td>\n0<\/td>\n162<\/td>\n91%<\/td>\n<\/tr>\n
In the Fade \/ Aus dem Nichts\u00a0 (2017)<\/span><\/td>\n110<\/td>\n47<\/td>\n4<\/td>\n0<\/td>\n161<\/td>\n91%<\/td>\n<\/tr>\n
The Rider\u00a0 (2017)<\/span><\/td>\n77<\/td>\n72<\/td>\n17<\/td>\n6<\/td>\n172<\/td>\n82%<\/td>\n<\/tr>\n
The Wife\u00a0 (2017)<\/span><\/td>\n133<\/td>\n59<\/td>\n19<\/td>\n7<\/td>\n218<\/td>\n86%<\/td>\n<\/tr>\n
The Eagle Huntress\u00a0 (2016)<\/span><\/td>\n130<\/td>\n44<\/td>\n10<\/td>\n4<\/td>\n188<\/td>\n90%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click to look at the season brochure<\/a> (PDF):<\/p>\n

\"FrontCover2017\"<\/a><\/p>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2017\/2018\u00a0 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nTotal Votes<\/td>\nPositive Response<\/td>\n<\/tr>\n
The Olive Tree \/ El olivo\u00a0 (2016)<\/span><\/td>\n130<\/td>\n41<\/td>\n2<\/td>\n2<\/td>\n175<\/td>\n93%<\/td>\n<\/tr>\n
Man Follows Birds (USSR, 1975) BFMAF screening<\/em><\/span><\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n–<\/td>\n<\/tr>\n
Sunrise\u00a0 (1927) (with live music accompaniment)<\/em><\/span><\/td>\n113<\/td>\n28<\/td>\n2<\/td>\n0<\/td>\n143<\/td>\n94%<\/td>\n<\/tr>\n
The Salesman \/\u00a0\u00a0Foru\u0161hande\u00a0 (2016)<\/span><\/td>\n58<\/td>\n65<\/td>\n35<\/td>\n1<\/td>\n159<\/td>\n78%<\/td>\n<\/tr>\n
Sweet Bean \/ An (2015)<\/span><\/td>\n106<\/td>\n54<\/td>\n12<\/td>\n1<\/td>\n173<\/td>\n88%<\/td>\n<\/tr>\n
Lady Macbeth (2017)<\/span><\/td>\n52<\/td>\n56<\/td>\n22<\/td>\n22<\/td>\n152<\/td>\n73%<\/td>\n<\/tr>\n
It\u2019s Only the End of the World \/ Juste la fin du monde\u00a0 (2016)<\/span><\/td>\n41<\/td>\n42<\/td>\n55<\/td>\n23<\/td>\n161<\/td>\n66%<\/td>\n<\/tr>\n
A Man Called Ove \/ En man som heter Ove (2015)<\/span><\/td>\n154<\/td>\n18<\/td>\n5<\/td>\n0<\/td>\n177<\/td>\n96%<\/td>\n<\/tr>\n
Les Cowboys\u00a0 (2015)<\/span><\/td>\n25<\/td>\n56<\/td>\n19<\/td>\n3<\/td>\n103<\/td>\n75%<\/td>\n<\/tr>\n
The Black Hen \/ Kalo Pothi\u00a0 (2015)<\/span><\/td>\n30<\/td>\n78<\/td>\n58<\/td>\n9<\/td>\n175<\/td>\n68%<\/td>\n<\/tr>\n
Frantz (2016)<\/span><\/td>\n132<\/td>\n50<\/td>\n7<\/td>\n0<\/td>\n189<\/td>\n92%<\/td>\n<\/tr>\n
The Other Side of Hope \/ Toivan tuolla puolen\u00a0 (2017)<\/span><\/td>\n48<\/td>\n66<\/td>\n17<\/td>\n3<\/td>\n134<\/td>\n80%<\/td>\n<\/tr>\n
The Shape of Water (2017)<\/span><\/td>\n59<\/td>\n26<\/td>\n13<\/td>\n7<\/td>\n105<\/td>\n83%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click to look at the season brochure<\/a> (PDF):<\/p>\n

\"FrontCover2017\"<\/a><\/p>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2016\/2017 Season Titles<\/td>\nExcellent<\/td>\nGood<\/td>\nFair<\/td>\nPoor<\/td>\nNumber Voting<\/td>\nPositive Response<\/td>\n<\/tr>\n
Trumbo (2015)<\/span><\/td>\n90<\/td>\n28<\/td>\n4<\/td>\n1<\/td>\n123<\/td>\n92%<\/td>\n<\/tr>\n
April and the Extraordinary World \/ Avril et le monde truqu\u00e9 (2015) BFMAF screening<\/em><\/span><\/td>\n34<\/td>\n32<\/td>\n3<\/td>\n2<\/td>\n71<\/td>\n85%<\/td>\n<\/tr>\n
Youth (2015)<\/span><\/td>\n76<\/td>\n49<\/td>\n30<\/td>\n9<\/td>\n164<\/td>\n79%<\/td>\n<\/tr>\n
The Second Mother \/Que horas ela volta? (2015)<\/span><\/td>\n44<\/td>\n74<\/td>\n30<\/td>\n3<\/td>\n151<\/td>\n76%<\/td>\n<\/tr>\n
Hector (2015)<\/span><\/td>\n71<\/td>\n64<\/td>\n10<\/td>\n1<\/td>\n146<\/td>\n85%<\/td>\n<\/tr>\n
Knife in the Water \/ N\u00f3z<\/span> w wodzie (1962)<\/span><\/td>\n23<\/td>\n50<\/td>\n44<\/td>\n11<\/td>\n128<\/td>\n67%<\/td>\n<\/tr>\n
The Music of Strangers (2015)<\/span><\/td>\n90<\/td>\n23<\/td>\n7<\/td>\n0<\/td>\n120<\/td>\n92%<\/td>\n<\/tr>\n
Marguerite (2015)<\/span><\/td>\n51<\/td>\n47<\/td>\n21<\/td>\n5<\/td>\n124<\/td>\n79%<\/td>\n<\/tr>\n
Embrace of the Serpent \/El abrazo de la serpiente (2015)<\/span><\/td>\n49<\/td>\n46<\/td>\n30<\/td>\n8<\/td>\n133<\/td>\n76%<\/td>\n<\/tr>\n
Mustang (2015)<\/span><\/td>\n96<\/td>\n32<\/td>\n8<\/td>\n1<\/td>\n137<\/td>\n91%<\/td>\n<\/tr>\n
The Brand New Testament \/ Le Tout Nouveau Testament (2015)<\/span><\/td>\n70<\/td>\n29<\/td>\n13<\/td>\n3<\/td>\n115<\/td>\n86%<\/td>\n<\/tr>\n
Julieta (2016)<\/span><\/td>\n58<\/td>\n58<\/td>\n16<\/td>\n1<\/td>\n133<\/td>\n83%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Click to look at the season brochure<\/a> (PDF)<\/p>\n

\"FrontCover2016\"<\/a><\/p>\n

 <\/p>\n

\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Audience responses for 2016-2023 Return to the table of responses to our most recent films here. 2023 Season Titles Excellent Good Fair Poor Total Votes Positive Response Undine\u00a0 (2020) 23 46 21 5 95 73% Playground \/ Un monde (2021) 25 31 20 9 85 71% The Good Boss \/\u2026<\/p>\n

Continue reading<\/i><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":72,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_wds_title":"","_wds_metadesc":"","_wds_focus-keywords":"","_wds_meta-robots-adv":"","_wds_meta-robots-noindex":false,"_wds_meta-robots-nofollow":false,"_wds_meta-robots-index":false,"_wds_meta-robots-follow":false,"_wds_autolinks-exclude":false,"_wds_canonical":"","_wds_redirect":"","_wds_opengraph":[],"_wds_twitter":[],"footnotes":""},"class_list":["post-1326","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/1326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/comments?post=1326"}],"version-history":[{"count":0,"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/1326\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"https:\/\/berwickfilmsociety.co.uk\/index.php\/wp-json\/wp\/v2\/media?parent=1326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}