In the time of one of the early waves of AIDS, at a time when millions of manufacturing jobs had been lost in the UK, Maggie Thatcher announced the closure of 20 coal mines. It was March 1984 the start of massive walkouts and a yearlong strike by the National Union of Mineworkers. The Conservative Government became the enemy of middle-aged Welsh coalminers. Coincidentally it was also the enemy of young activist gays in London.

A few in the Gay Pride march recognise this and formed the LGSM (“Lesbians and Gays Support Miners”) to raise money for the strikers. This challenges the miners’ perspectives and divides them on whether, and how to, accept the funds raised.

A gay contingent arrives, to show support in the small Welsh mining town of Onllwyn. They hang about the local hall like strange wallflowers until one of them breaks into a disco routine, charming the ladies and impressing a few of the local guys. When a bigot tries to sabotage the situation by smear press, Mark, the leader, turns it back on her with a hugely successful benefit concert attended by most of the villagers.

There are personal trials occurring throughout. Particularly poignant is Gethin facing a homecoming to a mother who had rejected him 16 years before. Joe still living at home and still underage is ‘outed’ when family discover his newspaper clippings and photographs. Others are directly touched by AIDS.

Director Matthew Warchus credits his father with teaching him “compassion and comedy” both of which are amply demonstrated in this film as it blends the comedy and drama of cultures clashing. Integrity is maintained with subtle observation.

There are great performances by several actors: Ben Schnetzer as the charismatic Mark Ashton, who faces an inevitable tragedy. The film follows the life passage of George MacKay as the young naive Joe. Faye Marsay as Steph almost single handedly upholds the lesbian side. Imelda Staunton is superb as headmistress type union organizer Hefina, whilst Bill Nighy plays a taciturn and understated role both regarding his sexuality and personality.

The musical score is strong, memorable and appropriate. From the opening “Solidarity Forever” to Mimi Farina’s endearing “Bread and Roses” which draws all together. There is a “Pits and Perverts” benefit concert, to boost publicity and size of donations, which energises the potentially flagging campaign.

The cinematography captures subtle intimate moments and expressions as well as the vast expanses of bridges, sea and land during the transitions from London to Wales.

Even though the strike finally ended, at the 1985 Gay Pride rally in London, banners proclaimed, “Workers of the World Unite for Peace and Socialism.” UK working-class gays and straights united.

Audiences have applauded at the end of the film. The film is a deserving tribute to the union of different sub-cultures in an industrially turbulent time against a backdrop of a public health epidemic. Well worth the journey.