Running time – 110 min
Dynamic Pricing
ARC’s policy is to set ticket prices based on demand, like budget airlines, which means we set a price when the event goes on sale and then sometimes put the price up or down depending on how the show is selling. Usually, the price will increase as we get closer to the event, so it is advantageous to book in advance, although sometimes we will put special offers on and reduce the price. Our website will always show the current ticket price.
ARC’s theatre and dance performances are priced on a Pay What You Decide basis, which means you don’t have to pay until after you have seen a show!
We want to encourage more people to come and see shows at ARC, more often. Pay What You Decide not only allows you to pay what you can afford, rather than a fixed ticket price, but also removes the financial risk of buying a ticket for a show in advance without knowing whether you are going to enjoy it or not.
Tickets are available to book in advance as usual, but there is no obligation for you to pay until after you have seen the show. You can then decide on a price which you think is suitable based on your experience, which means if you haven’t enjoyed it at all, you don’t have to pay anything.
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Please ensure you have arrived and collected your tickets 15 minutes before the show starts in order to secure your seats. At the end of the show, you can decide what to pay, either by cash on the door or by card at the Box Office.
Seating: Allocated - See Seating Plan for More Details
In German and Kurdish with English subtitles. The screening on Thu 23 May at 4pm will be relaxed for people living with dementia.
Elaha is a young Kurdish-German woman facing a dilemma just weeks away from her wedding.
Torn between the unconditional love for her family and her own aspirations in life, Elaha investigates the possibility of hymen reconstruction to cover up the fact that she is no longer a virgin – a state of ‘honour’ considered essential by her German-Kurdish community and, more specifically, by her strict mother.
Milena Aboyan’s feature debut is a compelling character portrait and feminist journey of identity and self-discovery, powered by Bayan Layla’s astonishing performance, portraying Elaha with exuberance and empathy.
‘sensitive drama exploring taboos in a tight-knit German-Kurdish community’ – ★★★★ The Guardian
‘Poignantly Powerful’ – ★★★★ Loud and Clear
‘Elaha is on fire’ – ★★★★ Eye for film
‘Layla delivers a career-making performance’ – Crack Magazine
Director – Milena Aboyan
Cast – Bayan Layla, Hadnet Tesfai, Homa Faghiri
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Information about screenings with subtitles
Subtitled screenings offer captions which transcribe dialogue only. Subtitled screenings attempt to give D/deaf and hard-of-hearing viewers an understanding of the spoken dialogue within the film, but do not include description about other aspects of the soundtrack, including music and sound effects.
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Seating accessibility information
Cinema
Seat size
Seats in the Cinema are 45cm (172/3“) wide and 46cm (18“) deep, are 40cm (152/3“) from the floor, and have 12cm (42/3“) between seats.
Armrests
Seats in the Cinema have armrests that do not fold away, and cannot be completely removed.
Legroom
Seats in the cinema have 30cm (112/3”) of legroom in front of seats, with additional legroom on row A and seats B1-B4 and B11-B14.
Further information
If you have any questions about accessibility our Box Office team are always happy to help and can be contacted on 01642 525199 or by emailing [email protected] - you can also tell us about your access requirements when prompted to do so during the online booking process.
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BBFC rating information (may contain spoilers)
Violence
A woman slaps her adult daughter. Two sisters have a brief hair-pulling fight.
Threat and horror
Scenes of threat include one in which a man behaves in an aggressive and sexually threatening manner towards his fiancée during an argument, and another in which people are heard screaming after discovering a loved one attempting suicide off screen.
Language
There is infrequent use of very strong language (‘c**t’), in addition to more frequent use of strong language (‘f**k’). Milder terms include ‘slut’, ‘whore’, ‘pussy’, ‘shit’, ‘tosser’ and ‘tits’.
Sex
There are strong scenes of sex and masturbation, with breast nudity and mechanical thrusting detail. In one scene a woman initiates sex with her male friend in order to secretly test the efficacy of a pharmacy-bought ‘fake hymen’; she appears pained or distressed as he thrusts on top of her, and soon pushes him away. There are also moderate verbal references to sex and virginity throughout the film.
Discrimination
Scenes of sexism and patriarchal oppression occur throughout the film, with particular emphasis on the discriminatory expectation that unmarried women should be ‘virgins’ with intact hymens. Women in the film are subjected to controlling behaviour in order to preserve their perceived ‘purity’, and characters equate female virginity with honour and worth, using misogynistic terms such as ‘slut’ to describe women they see as sexually promiscuous. The film strongly and clearly criticises such attitudes.
Sexual violence and sexual threat
During an argument, a man aggressively shouts at his fiancée, corners her against a car and starts undoing her trousers. She begins to sob, at which point he stops and cries in her arms, obliging her to comfort him. In another scene a woman faces pressure from her fiancé’s family to submit against her will to a pseudoscientific ‘virginity test’.
Suicide
It is strongly implied that a character attempts to take their own life. The scene is distressing but brief and undetailed, and the attempt itself occurs off screen.
Injury detail
A short extract of a video on a laptop screen of a surgical hymen reconstruction features moderate bloody detail.
Nudity
We see brief close up images of hymen reconstruction surgery being performed on a woman’s genitals. Breast nudity occurs during sex scenes. There is also infrequent breast, buttock and full-frontal nudity in a non-sexual context.
Theme
There are moderate upsetting scenes.