As a seasoned cinephile with roots deeply embedded in the heart of Scotland, I eagerly anticipate the return of the Edinburgh International Film Festival (EIFF) this August. The festival’s industry program, after its brief hiatus, promises to be a vibrant hub for creative exchanges and talent development – a veritable goldmine for those of us who thrive on the energy that such events bring.
As a longtime film enthusiast and industry professional with over two decades of experience, I am thrilled to see the resurgence of the Edinburgh International Film Festival’s industry program this year after its hiatus in 2022 due to the unfortunate collapse of its parent company, the Centre of the Moving Image. Having attended several editions of the festival throughout my career, I have always appreciated the unique blend of artistic vision and industry insights that it offers, making it a must-attend event for anyone passionate about film.
The upcoming industry event over the weekend will offer a collection of discussion forums and networking chances for both Scottish and overseas creative professionals. It also showcases fresh collaborations and alliances with Fringe entities and locations. Notable panelists include Charlotte Regan, director of “Scrapper”, BBC Film director Eva Yates, Alex Walton, head of WME Independent, Julia Trawinska, acquisitions manager at Picturehouse Entertainment, and Lynda Myles, a producer, writer, and curator.
Anticipating my encounter with EbMaster before the festivities unfold, Scotland’s creative minds are thrilled about the reemergence of EIFF’s industry platform. They also emphasize the necessity for continuous networking and nurturing talent in Scotland throughout the year. BAFTA Scotland laureate producer Nadira Murray, whose first feature “Winners” (directed by Hassan Nazer) graced the screens at EIFF last year, is eager to cross paths with budding talents at this event. “As a producer,” she expresses, “I am making my way to Edinburgh to connect with fresh voices.”
In Edinburgh, Murray, co-creator of Sylph Productions, aims not only to discover fresh talent, but also uncover potential new intellectual properties. She emphasizes the festival’s partnership with Screen Fringe, explaining that she shares her areas of interest with them, and in return receives a suggested list of productions to view during her visit. This collaboration, she believes, will foster additional creative interactions within Scotland during this season, and anticipates that more content will be generated from these collaborative efforts in the future.
As a movie enthusiast and critic, I eagerly anticipate the In Conversation sessions at the upcoming event. Similar feelings are shared by Wendy Griffin, a line producer for this year’s opening film, “The Outrun” by Nora Fingscheidt. She expresses her enthusiasm, stating, “I can’t wait to witness Gaspar Noé and Alex Garland in conversation. Such encounters are rare gems that don’t come around often. General networking events, while valuable, could be found at other venues like the UK Pavilion in Cannes, for instance.”
“What’s consistently impressive about Edinburgh is the opportunity for novice filmmakers showing their debut short films to casually chat with established directors in bars. This environment has always been welcoming and approachable. If Edinburgh can preserve this openness, it would be fantastic.” (Griffin added)
Griffin underscores the deep “attachment” that numerous local filmmakers and crew members have towards Edinburgh, resonating with Reece Cargan from Randan Film and Television Productions. “I’ve long been an admirer of the festival,” Cargan stated. “During Talent Lab, I met someone I later collaborated with on my debut feature for Film4. We were both up-and-coming producers in Edinburgh during the COVID era, and now we’ve just completed a significant project together.” This project is Polly Findlay’s film “Midwinter Break,” featuring Lesley Manville and Ciaran Hinds.
For Cargan, a key event at this year’s industry program is a case study of “Scrapper.” “As someone in the industry, the greatest thing for me to do is to learn from people who are just ahead of me. This is why I think the case study will be interesting for a lot of emerging producers in Scotland who have just done their first feature and could benefit from hearing insightful comments on funding and working with the BBC and the BFI. That’s really useful,” Cargan said.
Although Cargan appreciates the value of case studies, he is optimistic that EIFF might reintroduce talent workshops and production programs in the future, an opinion shared by Murray. “Edinburgh previously hosted numerous talent labs. They were geared more towards the industry, with a focus on fresh voices and fostering emerging filmmakers and producers. I truly hope to see this return.”
Over the past two years, EIFF has revamped its industry sector, leading to an influx of Scotland-based film producers towards the Glasgow Film Festival. This event has grown and strengthened its industry support, attracting even London-based filmmakers who seldom attend. Murray, a filmmaker himself, noted, “Many of my filmmaking friends from London decided to travel to Glasgow for this year’s festival, an uncommon move. They came because it’s a fantastic event with pitching sessions and networking opportunities. However, they feel it’s not enough. We need events in Glasgow, Edinburgh, and other cities. It would be wonderful if Scotland could emerge as a hub for nurturing talent.”
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2024-08-15 15:47