EIFF Bounces Back in Edinburgh After a Challenging Period for the Scottish Film Festival
The Edinburgh International Film Festival (EIFF) has made a resilient return, marking its first fully-fledged edition since the collapse of its former parent charity, the Centre for the Moving Image, in 2022. This comeback signifies a critical moment for one of the world's oldest film festivals, reasserting its presence in the global film community after a period of uncertainty.
The festival, held in Scotland’s capital, Edinburgh, faced a shaky start, with the opening ceremony delayed by an hour. However, as the event progressed, it regained momentum, reflecting a blend of cautious optimism and a work-in-progress dynamic. Festival director Paul Ridd and producer Emma Boa, both instrumental in steering the festival through this turbulent period, received commendations for their efforts to revive the event.
At a BBC Film reception, Eva Yates, director of the film funder, reminisced about the uncertain atmosphere at last year’s scaled-back edition. However, this year, the mood was notably more positive. Lizzie Francke, head of the directing fiction department at the National Film and Television School and a former EIFF director, praised the "energetically rebooted" festival, which paid homage to its legacy. A highlight was the presentation of a lifetime achievement award by Bafta Scotland to former festival director Lynda Myles.
The festival's industry events featured notable figures, including WME Independent co-chair Alex Walton and a well-attended discussion between filmmaker Alex Garland and his long-time collaborator, EIFF chair Andrew Macdonald. Additionally, Scottish actor Brian Cox made a surprise appearance, adding star power to the proceedings.
This year's EIFF also attracted significant attention from London-based industry professionals, such as BFI Filmmaking Fund director Mia Bays and BBC Film’s Eva Yates. However, the presence of Scotland-based filmmakers was less prominent, raising questions about the festival’s relationship with the local industry.
A key talking point among attendees was the use of Edinburgh Fringe venues for screenings, which drew mixed reactions. Some appreciated the integration with the Fringe, while others criticized the lack of proper seating and professional ambiance in certain locations. The absence of a central meeting hub also affected the festival's social dynamic, although the anticipated reopening of the Edinburgh Filmhouse next spring may address this issue.
The festival's program highlighted Ridd's international outlook, with three of the ten world premieres in the competition strand hailing from the UK. The top prize, the inaugural Sean Connery £50,000 filmmaking award, went to Jack King’s "The Ceremony." Despite this international focus, the absence of competition titles from Scotland-based directors was notable, although the opening film, "The Outrun," and the closing documentary, "Since Yesterday: The Untold Story Of Scotland’s Girl Bands," were local productions.
As the Edinburgh International Film Festival re-establishes itself, the industry will closely monitor its next steps. The challenges of the past few years have left their mark, but the 2024 edition has set a hopeful tone for the future of this storied event in Scotland's cultural calendar.