THE LITTLE STRANGER

Attending London Pride on Saturday 6th July, Renée Zellweger will appear at 4.00pm on the Trafalgar Square Stage to introduce the latest trailer for her new film, JUDY. In the film, Zellweger plays the legendary entertainer, Judy Garland. This year marks both the 50th anniversary of Judy Garland’s untimely death and the 50th anniversary of the Stonewall Riots, the historic protests in New York City that sparked a revolution in LGBTQ rights. Ian Massa-Harris-McFeely, Deputy Director of Events at Pride in London, said: "We're delighted to have Renée taking to our Trafalgar Square Stage this year to give the crowds an exciting first glimpse of JUDY. In this monumental anniversary year, it's important that we pay tribute to an icon who was a true ally to the LGBT+ community and whose death was undoubtedly intertwined with the events that happened that night at the Stonewall Inn." JUDY is the first feature film to be made about Judy Garland and is set to open in UK cinemas on 4th October. Zellweger herself sings all of the songs performed in the film. The Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago) is joined in the film by Jessie Buckley (Wild Rose, Chernobyl), Finn Wittrock (Unbroken, The Big Short) and Rufus Sewell (TV’s The Man in the High Castle and Victoria). Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; and gripped by a desire to be back home with her kids. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. JUDY is directed by Tony nominee and two times Olivier winner Rupert Goold (King Charles III). The film is based on a script written by Tom Edge (The Crown) and is produced by BAFTA winner David Livingstone (Pride). JUDY is a Pathe, BBC Films and Ingenious Media Presentation of a Calamity Films Production. For further information contact: Nicki Foster/Simon Bell/Harriet Gilholm, Premier Firstname.surname@premiercomms.com / 020 7292 8330 Online: Feref Abigail Lepp AbigailLepp@feref.com / 020 7292 6308

DATE OF UK CINEMA RELEASE ANNOUNCED FOR MISBEHAVIOUR DIRECTED BY Philippa Lowthorpe STARRING Keira Knightley ● Gugu Mbatha-Raw ● Jessie Buckley ● Greg Kinnear ● Lesley Manville ● Keeley Hawes ● Rhys Ifans ● Phyllis Logan London, 4th December 2019, Pathe have today announced that they will release MISBEHAVIOUR on 13 March 2020 at cinemas across the UK. The film is directed by BAFTA winner Philippa Lowthorpe (Three Girls) and stars Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Greg Kinnear, Lesley Manville, Keeley Hawes, Rhys Ifans and Phyllis Logan. A politically relevant, inspirational true story, the film skilfully combines humour with drama to celebrate all women, however they choose to navigate a male-dominated world: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film was written by Rebecca Frayn and Gaby Chiappe, and produced by Suzanne Mackie and Sarah Jane Wheale. MISBEHAVIOUR is a Pathé, Ingenious Media, BBC Films, BFI presentation of a Left Bank Pictures production. UK cinema release date: 13 March 2020 Running time: 1 hour 46 minutes Certificate: 12A For press information, please contact: Nicki Foster / Oliver Lavery / Simon Bell / Harriet Gilholm Tel: + 44 20 7292 8330 / Email: Firstname.surname@premiercomms.com

Spanish auteur Pedro Almodóvar’s 21th feature film, PAIN AND GLORY, starring Antonio Banderas and an ensemble cast that includes Penelope Cruz, will be released on 23rd August 2019 in cinemas across the UK. PAIN AND GLORY tells of a series of re-encounters experienced by Salvador Mallo, a film director in his physical decline, some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity; his first desire; his first adult love in the Madrid of the 80s; the pain of the breakup of that love while it was still alive and intense and writing as the only therapy to forget the unforgettable; his early discovery of cinema; and the void, the infinite void that creates the incapacity for him to keep on making films. PAIN AND GLORY talks about creation, about the difficulty of separating it from one’s own life and about the passions that give it meaning and hope. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation. Alongside Antonio Banderas and Penelope Cruz appear Asier Etxeandia, Leonardo Sbaraglia, Nora Navas and Julieta Serrano. PAIN AND GLORY is written and directed by Pedro Almodóvar, is produced by Agustín Almodóvar and has an original score composed by Alberto Iglesias (Volver, The Skin I Live In, Julieta). Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, Goyas and over 100 further wins and nominations. His credits include Volver, The Skin I Live In, Broken Embraces and most recently Julieta.

Pathé are delighted to announce that the Spanish auteur Pedro Almodóvar’s new feature film PARALLEL MOTHERS, starring his long-time collaborators Penélope Cruz, Rossy de Palma and Julieta Serrano as well as Milena Smit, Aitana Sánchez-Gijón and Israel Elejalde, will be released on 28 January 2022 in cinemas across the UK. PARALLEL MOTHERS is Almodóvar’s 22nd feature film and had its World Premiere as the opening night film at this year’s Venice International Film Festival. The film received an enthusiastic response from the critics, and Penélope Cruz won the Best Actress Award for her performance. Two women, Janis and Ana, meet in a hospital where they are about to give birth. Both are single and became pregnant by accident. Janis, middle-aged, has no regrets and is exultant. The other, Ana, an adolescent, is scared and repentant. Janis tries to encourage her as they move like sleepwalkers through the hospital corridors. The few words they exchange in these hours will create a very close link between them, which by chance will develop and complicate, changing their lives in a decisive way. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER, PAIN AND GLORY and most recently THE HUMAN VOICE. For further information please contact organic. Abi Fiedler / abi.fiedler@organic-publicity.co.uk / +44 (0) 781 663 1916 Katy Sharp-Watson / katy.sharp-watson@organic-publicity.co.uk / +44 (0) 789 133 6136

The Little Stranger opens in the UK and Ireland to a wealth of critical acclaim The Little Stranger review: One of the most original British horror films of recent times ★★★★ The Independent Geoffrey Macnab The Little Stranger is one of the most original British horror films of recent times – although whether it can really be classified as horror is a moot point. Based on the novel by Sarah Waters, this is a story about class, envy and self-loathing. It is set in the austerity-era Britain of 1948, when the country was in debt and drained of colour and when the old aristocracy was on its knees. Beautifully directed by Lenny Abrahamson, the film evokes this period in a way that is both nostalgic and frequently chilling. Domhnall Gleeson plays the youngish Dr Faraday, an aloof and diffident figure who has opportunities in Clement Attlee’s Britain that would have been denied him before the war. He is from a very humble background, the son of a housemaid, but has risen up the social scale and is now a fully qualified country doctor. Faraday has a morbid obsession with Hundreds, the decaying, Brideshead-like pile where his mother worked before he was born. He has vivid memories of visiting the country house for an Empire Day celebration as a child in 1919 when it was still in its pomp. His mother had friends working there and he was allowed inside. What he can’t acknowledge, and what the film takes a long time to tell us about, is his vicious resentment and loathing of his upper class patrons. Abrahamson shows Gleeson as the type who will always lurk in the corner at any social event. He is an awkward and repressed man but seemingly a decent and sympathetic one. With his red hair and pale face, he is not handsome at all. Nor is he charming but he does have a good bedside manner. He is the type others feel comfortable confiding in but who will rarely share any secrets about himself. The Ayres family, the owners of Hundreds, are in dire financial straits. They can’t afford the death duties on the house. The son of the family, Roderick (Will Poulter), is scarred and near crippled by war wounds. The mother, Mrs Ayres (Charlotte Rampling) is haughty in a Miss Havisham-like way but even she is struggling to keep up appearances. The daughter, Caroline (Ruth Wilson), is spirited and intelligent but seems to have been left behind by the world. Their once grand home isn’t just shabby and falling apart. It appears to be haunted. Mrs Ayres’ beloved daughter Susan (‘Suki’), who came face to face with Faraday on his visit to the house, died as a child. Her spirit seems to be behind the strange and terrifying happenings in the house. Abrahamson shows an anthropologist’s eye in the detail with which he depicts the aristocratic family fallen on hard times but desperately trying to cling to its status and dignity. The Ayres can’t pay their bills. They’ve lost the “trick of company” but they have their codes of behaviour. Try as he might, Faraday can’t crack them. In their eyes, he will always be a “common village boy.” Lucinda Coxon’s screenplay picks up on the tiny mannerisms and tics of speech that distinguish the Ayres from less well-born outsiders like Faraday. This is as much an account of a thwarted love affair as it is a ghost story. If it wasn’t so awkward, there would be a certain humour in Faraday’s courtship of Caroline. He is gauche but very dogged. The misfortunes that multiply around her give him his chance. It is not clear, though, whether he is in love with her or is looking to control her. The mood here is similar to that in The Innocents, Jack Clayton’s film adaptation of Henry James’ The Turn Of The Screw. We don’t see any monsters. The terror is in the minds of the protagonists. Abrahamson includes a few familiar devices from more conventional haunted house stories – bells in the servants’ quarters that ring of their own accord, doors that will suddenly slam shut, fires that start from nowhere. Generally, though, the creaks aren’t in the night but are in the tormented psyches of the film’s main protagonists. The Little Stranger doesn’t scare us as often as might have been expected but it is still a disturbing affair. It’s a ghost story in which politics, class and money are the most frightening elements. Domhnall Gleeson may be best known for playing General Hux in Star Wars but he was superb as the traumatised, shell-shocked AA Milne in last year’s Goodbye Christopher Robin. He gives an equally affecting performance here as the repressed and uptight Dr Faraday. He is matched by Ruth Wilson as Caroline, the “awfully brainy” upper class girl treated in such chauvinistic fashion by all the men around her. Wilson shows us Caroline’s resilience, her passion and her fatalism. She is as much a prisoner in the house as any princess in a castle in a fairy tale. The Little Stranger has received a very muted response in the US, where it was released late last month. It is too idiosyncratic and subdued to appeal to fans of the teen-oriented horror movies that dominate the box office. Abrahamson’s approach is the polar opposite to that found in Jason Blum movies. This, though, is a consummately crafted and very subtle film which ends with quite a kick. The Little Stranger — the power of suggestion ★★★★ Nigel Andrews The Financial Times Horror thrillers are teasing duels between the known and unknown. We want their mysteries explained; yet simultaneously we don’t. Explanation can be so banal. Some films present the perfect solution. Keep the audience teased. Right up to, and possibly including, the end. What on earth is happening, for instance, in Hundreds Hall, the decaying English mansion in The Little Stranger? Dr Faraday, cold, shy and neurotic (another repressed Englishman master-crafted by Ireland’s Domhnall Gleeson of Goodbye Christopher Robin), ministers to the tormented lady of the house ( Charlotte Rampling), the war-disfigured son (Will Poulter) and even the malingering maid. The rational but troubled daughter (Ruth Wilson) is the only human easy to handle, so Faraday courts her. His mum used to work in the Hall. Here might be a leg up into the upper class. It is 1948, when such things mattered to some. The storm clouds of socialism are gathering — including the birth of the National Health Service — and Faraday, even unwittingly, wants to play on with the ghosts of the past. Ghosts? Might they include Rampling’s little daughter, dead in childhood? Or is some other spirit rattling the upstairs doors, ringing the servant bells, inspiring a nasty accident to befall another little girl at a party? Sarah Waters’ novel (Man Booker-shortlisted) delivers the subtle frissons to director Lenny Abrahamson. He’s the right man: he makes spooked human comedies/dramas tinged with apocalypse (Frank, Room). Shades of The Innocents (ghosts as psychic projections of the haunted) and Don’t Look Now (little daughter lost) stalk this house. The story doesn’t require visible ghouls. It requires hint, suggestion and a kind of pressure-building restraint. Cinematographer Ole Bratt Birkeland’s muted colours match the mansion’s peeling pastels. Once or twice a fog seems to creep in, opacity’s democratic pall routing the hierarchical contrasts of chiaroscuro. With Gleeson, the female stars clinch this drama of dread and desperation. Rampling, bereavement-haunted, seems to be gnawing herself to death without moving a muscle. Wilson plays a whole set of subtle variations on “normalcy”, their notes encrypting fear, frigidity, passion, longing and — finally perhaps (but watch this ghost space) — the triumph of self-liberation. Film review: The Little Stranger ★★★★ Daily Mail Brian Viner It is 1948. Hundreds Hall in Warwickshire has belonged to the Ayres family for centuries, but crippling death duties have turned it into a slowly crumbling wreck. 'The Labour government won't be happy until we're begging for our lives on street corners,' grunts Roderick Ayres (Will Poulter), a dreadfully disfigured war veteran, who lives in the house with his brisk, spinster sister Caroline (Ruth Wilson) and their grand matriarch of a mother (Charlotte Rampling). The film opens with a village doctor arriving to treat the family maid, Betty (Liv Hill). This is Dr Faraday (Domhnall Gleeson), whose late mother was herself once a servant at Hundreds Hall. Faraday has broken free of his working-class origins. But as he befriends the family, and in particular Caroline, he can never quite escape the nuances of the English class system. In some striking ways, the story, based on the 2009 novel by Sarah Waters, is reminiscent of L. P. Hartley's The Go-Between. Hundreds Hall is a place full of memories, not all of them pleasant. Faraday is fixated by the recollection of a boyhood visit to the house, nearly 30 years earlier, while the family appear to be haunted by another Ayres daughter, Susan, who died as a child. All this coalesces into an effective blend of ghost story, social history and psychological thriller, which is no less compelling for being rather relentlessly gloomy. Gleeson reprises the repressed Englishman role that he performed in last year's Goodbye Christopher Robin, except more so. He possibly could have injected just a little more animation into stiff Dr Faraday, who generally makes an Easter Island statue look like a song-and-dance man. But maybe that's the point. In the parlance of the time, he's rather a queer cove. At any rate, director Lenny Abrahamson and screenwriter Lucinda Coxon have done a fine and powerful job with their source material and are rewarded with one truly mesmerising performance. All the acting is good, but Wilson, as dutiful, unhappy Caroline, stands apart. The Little Stranger review: A very British ghost story that is compellingly strange rather than scary ★★★★ Evening Standard Charlotte O'Sullivan For fans of the uncanny, revenge is a dish best served with no hands. Think of Magneto, Matilda or Carrie. These characters, initially marginalised and abused, use their hurt feelings and indignant brains to bring the powerful to heel. The Little Stranger (an adaptation of Sarah Waters’ 2009 novel) contains just such an upstart. Yet it’s only at the end that we discover whose mind is running the show. (The film, in case you’re wondering, works even better on second viewing.) The Ayres family live in a once grand Warwickshire mansion (imagine a beautiful mouth full of black teeth). Angela (Charlotte Rampling) is still traumatised by the loss of Suki, her preternaturally attractive little daughter. Son Roderick has had his body and nerves shattered in the Second World War. Daughter Caroline (Ruth Wilson) is plain. That’s not actually a tragedy, but people act as if it is. By the way, in the book, Caroline’s legs are “unshaven”. It’s a shame that quirky detail doesn’t make it into the film, but let’s not split hairs. The point is, the family are failing to keep up appearances and worse is to come. In a shockingly vivid scene, a pretty girl is savaged in their home. Our narrator, the pallid local doctor Faraday (Domhnall Gleeson, excellent), knows all about the Ayres family; his mother once worked for them as a maid. He’s clever and diligent. He’s also kind to the poor and respectful towards the Ayres’ current drudge, Betty (newcomer Liv Hill, a revelation). But can he stop the haunting of Hundreds Hall? Faraday, never allowed to forget he’s a prole, is a great character. Sometimes, as if unable to decide whether to swoon or seethe, he goes into a kind of trance, which the camera feasts on. Caroline is even better, stomping through her shabby home like a farmer who’s just spotted a dead sheep. Wilson never overdoes the galumphing; Caroline’s playfulness and loneliness are conveyed just as keenly. Lenny Abrahamson’s last film, which reworked Emma Donoghue’s Room, earned Brie Larson a best actress Oscar. Wilson deserves a nomination at the very least. The Little Stranger has been described as a very British ghost story. Abrahamson (who’s Irish) has now adapted two books by out-and-proud lesbians. He’s fascinated by what insiders fear. He’s not interested in making us jump (actually, he tries it once and bungles it). If you love strange little things, you’ll be smitten. Film Review The Little Stranger ★★★★ Dan Jolin Time Out Lenny Abrahamson adapts Sarah Waters’ ghost story into an understated but satisfyingly spooky snapshot of class in post-War England. Director Lenny Abrahamson knows how to turn small spaces into big drama. His last film (‘Room’) focused on a single, small shed. The one before (‘Frank’) primarily took place in a remote music-studio cabin. With ‘The Little Stranger’ – adapted from Sarah Waters’ gothic novel – he’s expanded to the rather grander scale of an old, English manor house. But it feels no less effectively claustrophobic. That manor house is Hundreds Hall, a decaying, 18th-century estate whose old-money residents, the Ayres family, can barely manage its upkeep during the late ’40s. When their sole maid falls ill, they summon Dr. Faraday (Domhnall Gleeson), a shy, awkward fellow, who soon confesses to having a lifelong obsession with the crumbling mansion since visiting during his childhood and befriends the eldest of the Ayers offspring, the earthy, practical Caroline (Ruth Wilson). But as the stiff, white-collar doctor draws closer to the welly-wearing Caroline and begins to rather creepily exercise his aspiration for the life of the landed gentry, it also becomes evident there is a malevolent presence lurking in the shadows of Hundreds Hall – something seemingly set on accelerating House Ayres’ decline. True to Waters’ book, Abrahamson valiantly resists turning ‘The Little Stranger’ into a full-on horror show, teasing its ghostly strands by delicate degrees, while Gleeson and Wilson’s increasingly uncomfortable relationship occupies the bulk of your attention. Those hoping for ‘Insidious’-like shocks and jump scares may find their patience tested, but to succumb to such frustration is missing the film’s fine point: there may possibly be a spectral threat here, but this is really a story about people haunted by something very different, but just as intangible: namely, class. Film Review The Little Stranger ★★★★ Andy Lea The Express Irish director Lenny Abrahamson allows dread to build very slowly in this handsome period chiller. In the opening scene, Abrahamson, nominated for an Oscar in 2016 for Room, seems to be setting up a typical upstairs, downstairs drama. It is 1948 and we are gazing upon Hundreds Hall, a mansion in rural Warwickshire, through the awestruck eyes of Dr Faraday (Domhnall Gleeson). It is the first time the good doctor has entered the gates since he was a child when his now-deceased mother worked there as a maid. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. Faraday is making a house call after being informed that one of the servants has been taken ill. "One of?" laughs Roderick Ayres (Will Poulter), the master of the house and a former RAF pilot who was badly burned in combat during the Second World War. "You'll see." It turns out that the ailing Betty (Liv Hill) is now the only servant who is working in this once-thriving country estate. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. A series of flashbacks hint at the root of this obsession. As a child he stole into the house and on a strange impulse broke a plaster flower off one of the ornate cornices. This crime was witnessed by the doctor's mother and Susan (Tipper Seifert-Cleveland), Roderick's long-dead sister. It was a crime that horrified his mother and she could never forgive him for it. Before leaving the house, Faraday meets Mrs Ayres (Charlotte Rampling), Roderick's haughty mother. He also discovers that Roderick's hardworking sister Caroline (Ruth Wilson) is the one who is really running the mansion. Slowly, an awkward romance begins to spark between the stuffy doctor and the free-spirited aristocrat. As the class divisions begin to blur, strange incidents start to happen in the house. A girl is left horribly injured at a dinner party and strange symbols start appearing on the walls. The doctor tries to find rational explanations. But as the strange occurrences pile up, Faraday's stiff upper lip appears to quiver. In the finale, Abrahamson resorts to the twists and turns of the typical haunted house movie. But it is that slow build-up that will stay with you.

London, 22 September 2020 Following its critically acclaimed World Premiere at the Venice Film Festival, Pathé is delighted to announce that Sony Pictures Classics has acquired THE DUKE for distribution in multiple territories including the US, Latin America and Scandinavia. All other world territories had been sold by Pathe International prior to the Venice Film Festival. Directed by Roger Michell from a script by Richard Bean and Clive Coleman, the comedy drama stars Oscar-winners Jim Broadbent and Helen Mirren and tells the delightful and moving true story of a man determined to live a meaningful life: In 1961, Kempton Bunton, a 60-year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government agreed to provide television for free to the elderly. What happened next became the stuff of legend. Only 50 years later did the full story emerge – a startling revelation of how a good man set out to change the world and in so doing saved his son and his marriage. Pathé will release the film in the UK, France and Switzerland. Other sales already announced include: Australia (Transmission), Benelux (Paradiso), Canada/Germany/Spain (eOne), China (Huanxi), Czech Republic (AQS), Former Yugoslavia (MCF), Israel (Forum), Italy (BIM), Japan (Phantom), Middle East (Front Row) and Poland (Monolith). THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. For further information please contact: Sophie Glover - Pathé UK / Sophie.glover@pathe-uk.com www.pathe.co.uk Nicki Foster – Premier / Nicki.foster@premiercomms.com ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations), most recently the Best Actress Oscar and BAFTA for Renee Zellweger in Judy. Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk

Gurinder Chadha’s VICEROY’S HOUSE will be released in UK cinemas on 3rd March 2017. The film tells the true story of the final months of British rule in India and its release will coincide with the 70th Anniversary of the Independence of India and the founding of Pakistan. Pathe is today launching the very first trailer and poster in support of the film’s release. The British cast is led by Hugh Bonneville (Downton Abbey, Paddington) as Lord Mountbatten; Gillian Anderson (The X Files, The Fall) as his wife, Lady Mountbatten; Lily Travers (Kingsman) as their daughter, Pamela; and Michael Gambon (Harry Potter, Quartet) and Simon Callow (A Room With A View, Four Weddings and a Funeral) as key civil servants. The Indian and Pakistani cast is led by Manish Dayal (The Hundred Foot Journey), Huma Qureshi (Gangs of Wasseypur) and Om Puri (The Hundred Foot Journey, East Is East). The roles of the principal political leaders are played by Tanveer Ghani (Nehru), Denzil Smith (Jinnah) and Neeraj Kabi (Gandhi). It is a story that is deeply personal to Gurinder, whose own family was caught up in the tragic events that unfolded as the Raj came to an end. Viceroy’s House in Delhi was the home of the British rulers of India. After 300 years, that rule was coming to an end. For 6 months in 1947, Lord Mountbatten, great grandson of Queen Victoria, assumed the post of the last Viceroy, charged with handing India back to its people. The film’s story unfolds within that great House. Upstairs lived Mountbatten together with his wife and daughter; downstairs lived their 500 Hindu, Muslim and Sikh servants. As the political elite - Nehru, Jinnah and Gandhi - converged on the House to wrangle over the birth of independent India, conflict erupted. A decision was taken to divide the country and create a new Muslim homeland: Pakistan. It was a decision whose consequences reverberate to this day. The film examines these events through the prism of a marriage - that of Dickie and Edwina Mountbatten - and a romance - that between a young Hindu servant, Jeet, and his intended Muslim bride, Aalia. The young lovers find themselves caught up in the seismic end of Empire, in conflict with the Mountbattens and with their own communities, but never ever giving up hope. VICEROY’S HOUSE is a film that is both epic and intimate, with an inspirational message that celebrates tolerance. Many of the events depicted are either unknown or forgotten, but all have strong contemporary relevance in terms of lessons to be learnt concerning the politics of division and fear, the origins of religious extremism, and our moral responsibility towards migrants fleeing violence for a better life. VICEROY’S HOUSE is directed by Gurinder Chadha (Bend it like Beckham) with a screenplay by Gurinder Chadha, Paul Mayeda Berges and Moira Buffini, and is produced by Deepak Nayar (Bend it like Beckham, The End of Violence, Buena Vista Social Club), Gurinder Chadha and Paul Mayeda Berges. The film is executive produced by Pathé’s Cameron McCracken, Reliance’s Shibasish Sarkar, BBC Films' Christine Langan, the BFI’s Natascha Wharton and Ingenious Media’s Tim O’Shea. The film is a Pathé, Reliance, BBC Films, Ingenious and BFI presentation of a Bend It Films/Deepak Nayar Production in association with the FilmVast and Filmgate Films. VICEROY’S HOUSE opens on 3 March 2017 Running time: 1hr 46 mins Certificate: 12A Trailer can be found here: DOWNLOAD: http://video.thinkjam.com/video/pathe/Viceroys_House/trailer_1080p_3march.zip YOUTUBE: https://www.youtube.com/watch?v=id_ZyNdvXKQ Images can be downloaded on: www.image.net Twitter www.twitter.com/ViceroysHouse #ViceroysHouse Facebook www.facebook.com/ViceroysHouseFilm Website www.ViceroysHouse.co.uk For further press information please contact Freuds: Kerry McGlone / Emma Welby T: +44 (0) 20 3003 6413 kerry.mcglone@freuds.com / emma.welby@freuds.com For online press enquiries: Emily Darling Tel: + 44 20 7324 0088 emily.darling@thinkjam.com

THE DUKE was awarded 5 stars from The Guardian, Daily Telegraph, and Daily Mail following the World Premiere at the Venice Film Festival. Robbie Collin from The Daily Telegraph wrote that “Oscars surely beckon” for THE DUKE: “Jim Broadbent and Helen Mirren “give two of the finest performances of their careers”. The Guardian’s Xan Brooks followed with similar praise, describing the film as “lovely, rousing & moving…unashamedly sentimental and resolutely old-fashioned in the best sense of the term”. Brian Viner from The Daily Mail called THE DUKE “beautifully scripted… an art heist yarn that will steal your heart”, whilst The Times’ Kevin Maher heaped praise upon the film’s director and leading star: “Broadbent is astounding… one of the standout performances of his career. Roger Michell should also take a bow. With The Duke, he is marked out as one of the country’s most versatile mainstream filmmakers”. The British comedy-drama will be released in cinemas in 2021.

London, 10 January 2020 Principal photography began this week in Yorkshire on THE DUKE starring Academy Award winners Jim Broadbent (Iris) and Helen Mirren (The Queen) and featuring Fionn Whitehead (Dunkirk) and Matthew Goode (The Imitation Game). THE DUKE, based on a remarkable true story of one man’s attempt to make a better world, is directed by BAFTA award winner Roger Michell (My Cousin Rachel, Notting Hill). The film is based on a script written by Richard Bean (One Man, Two Guvnors) and Clive Coleman and is produced by Nicky Bentham (Moon) of Neon Films. In 1961, Kempton Bunton, a 60 year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. Michell reunites with his creative team from My Cousin Rachel: Director of Photography Mike Eley, Costume Designer Dinah Collin and Editor Kristina Hetherington. Make Up and Hair Designer is Karen Hartley Thomas (The Personal History of David Copperfield) and Production Designer is Kristian Milsted (Killing Eve). THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media and Hugo Heppell for Screen Yorkshire. Pathé will distribute the film in the UK, France and Switzerland and will handle sales for the rest of the world. For further information contact: Jonathan Rutter/ Emma Eliades Robinson / Ellen Steers, Premier Firstname.surname@premiercomms.com / 020 7292 8330 ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s latest production is Judy starring Renee Zellweger. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 21 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. Titles currently on release or coming soon include Judy starring Renée Zellweger, Peter Cattaneo’s Military Wives starring Kristin Scott Thomas, Benedict Andrews’s Seberg starring Kristen Stewart and Jack O’Connell. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: Official Secrets, Hope Gap, All Creatures Great and Small, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, a cluster for the screen industries, recognised by the BFI in 2016 as the first awardee of funds from its Creative Cluster Challenge Fund. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire