A screening of two works from the Amber Films archives, followed by a Q&A

Friday 23rd October 2026, The Liberal Club at 4pm and 7.30pm

Q&A after the screenings

Tickets £5

Seacoal

1985, UK, 83 MINS, Amber Films, Drama/Doc, Language: English

Seacoal is Amber Films' first feature-length drama, blending fiction with documentary realism to portray the seacoaling community on Lynemouth Beach, Northumberland. The film captures the precarious existence of the seacoalers, some of whom lived on state benefits while working under harsh conditions to extract coal washed ashore from nearby collieries.

Gaining access to the community was challenging, as the seacoalers were suspicious of cameras. However, Side Gallery had recently commissioned Ashington photographer Mik Critchlow, whose cousin Trevor Critchlow was a leading figure among the seacoalers. This connection helped establish trust, allowing Amber to embed themselves on-site for over two years. The collective purchased a caravan, initially used by Chris Killip for his photographic documentation before being taken over by the filmmakers. This immersive approach enabled the team to incorporate everyday life into the film, combining documentary footage, improvisation, and dramatised scenes. Special agreements with the actors' union Equity allowed Amber to work directly with seacoalers, preserving the film’s naturalistic approach.

Seacoal won the European Film Award in 1986 and marked the beginning of Amber’s long-term engagement with working-class communities. It also launched Amber’s lasting connection with the harness racing community, which led to later films such as Eden Valley (1995) and The Pursuit of Happiness (2008). Alongside the film, Mik Critchlow continued documenting the seacoalers, creating a broader photographic record of life in Lynemouth. Seacoal remains a key work in Amber’s social realist filmmaking, capturing a disappearing way of life with sensitivity and authenticity.

High Row

1973, UK, 33 mins, Amber Films, Language: English

High Row presents a working day in the life of seven miners at the small Alston drift mine.

Amber initially drafted a script, but the miners rejected it, stating that it did not reflect their reality. In response, the filmmakers collaborated with them to develop a new script that more accurately portrayed their experiences. To manage the logistical challenges of filming in the confined spaces of the mine, Amber proposed renting it for a week, allowing them to control the environment while compensating the miners for their participation. The result was a reconstruction of a typical working day, performed by the miners themselves.

High Row marked a significant moment for Amber Films, as it was the first of their films in which members of the production team actively engaged in the work process being depicted.

Without narration and with minimal dialogue, the film takes on a poetic quality, capturing not only the physical labour of mining but also the deep connection between the miners and the landscape.

High Row highlights the organic nature of their work, in contrast to the alienation of more mechanised industries.

Though some have criticised the film as romanticising mining, the original script was, according to Murray Martin, far harsher. However, when shown to the workers, they insisted it was unrealistic, leading Amber to adjust its vision in line with their experiences. This commitment to allowing people to represent themselves on their own terms has always been central to Amber’s filmmaking ethos.

Screenings with kind permission from AmberSide, Newcastle.

Stills from Seacoal, 1985, and High Row, 1973 ©Amber Films.

Description supplied by the event organiser.