It was screened as part of the Directors' Fortnight section of the 2014 Cannes Film Festival,[4][5] where it won the Queer Palm award.

Frustrated by the lack of response, the activists instead decide to take their donations directly to a small mining village named Onllwyn in Wales.

First-time volunteer Siân James speaks up fiercely in favour of inviting LGSM and is asked to join the committee.

When LGSM arrives in Onllwyn, they are met with a frosty reception and Maureen leads a walkout after Mark's speech to the village.

Many grateful miners acknowledge LGSM's role in their release, relations begin to thaw and the two communities quickly become close.

Back in London, Mark declares that they will embrace the labels in the tabloid and throws an enormous concert at the Electric Ballroom, headlined by Bronski Beat and attended by Dai, Hefina and a number of the women from the village.

Gethin, who initially refused to participate due to his own experience coming out in a mining village, attempts to campaign alone and is violently assaulted and hospitalised.

The closing scenes reveal that consequently the Labour Party incorporated rights for gays and lesbians in their party programme due in part to a massive vote lodged by the National Union of Mineworkers, that Siân was elected to Parliament, that Jonathan still lived, despite being one of the first people in Britain to be diagnosed with HIV, and that Mark Ashton died of AIDS just two years later at the age of 26.

[22] The Guardian reported that it had a drop of just 12% during its second weekend, and a strong weekday performance: "After a somewhat shaky start, Matthew Warchus' film is displaying signs of solid traction with audiences.

[26] It expanded slowly, adding cinemas in existing markets for its second weekend followed by release in additional cities from 10 October.

[29] Geoffrey Macnab, of The Independent, noted how Pride followed on from other British films such as The Full Monty, Brassed Off and Billy Elliot as "a story set in a Britain whose industrial base is being shattered".

Charlotte O'Sullivan, writing for the London Evening Standard, said: "Schnetzer is a New Yorker with an unpromising CV (he was one of the few good things about The Book Thief) and he's fantastic here".

[33] Paul Byrnes in The Sydney Morning Herald described the film as "dry, surprising, compassionate, politically savvy, emotionally rewarding and stacked to the gills with great actors doing solid work".

[34] Nigel Andrews, writing for the Financial Times, gave the film one star out of five, describing it as "a parade of tricks, tropes and tritenesses, designed to keep its balance for two hours atop a political correctness unicycle".

[35] Andrews' review read, "Nothing in modern history is more amazing than the cultural rebranding of the UK miners' strike as a heroic crusade, rather than a Luddite last stand for (inter alia) union demagoguery, greenhouse gas and emphysema.