Comedy

Polish with English sub-titles.

Cert 15. 105 mins

Together with rationing it is an even colder and slushier Advent in Poland 1981 as the Solidarity movement, simmering in the Gdansk shipyards, provokes the imposition of martial law. But guys still have to make a buck somehow, and dodgy deals in foreign currencies, where the Dollar reigns supreme, is a thriving business – and a very dangerous one – where the Secret Police are involved.

Meanwhile, for rough-diamond conmen/card-sharps, Sonny (Cezary Pazura) and Janek (Borys Szyc)  their sleight of hand trickery remains profitable – as long as they remain alive. Conning half your money back from the Militia just after you’ve bribed them certainly compromises that intention.

Roulette -Sztos 2 is a hustle and scam grifter-buddy road movie with a morality-tale denouement sting. There are plenty of engagingly vulgar comedy set-pieces, such as Sonny and Janek entertaining two ladies of profession affection. In the giddy throes of priapic consummation, the ladies’ partner, on seeking purchase on the spinning turntable, inadvertently discovers scratch/mixing years before the bros in d’hood had a clue.

Meanwhile, as ominous tank-tracks rumble outside,  Sonny rumbles something very unexpected inside Victoria’s underwear. The later ‘lock-in’ buddy booze-up scene and subsequent karaoke carnage is well-flagged, gauche in its contrivance and all the more entertaining for it.

Whilst allowing for generous slapstick comic license, Roulette/Szetos 2 sustains a pithy, non-self reverential, satirical swipe at totalitarianism’s bungling, but nonetheless, brutal suffocation set against Everyman’s struggle against the odds.

The context of Solidarity remains in the background, although one might do well to keep it in mind at journey’s end. The film’s ethos posits the theory that, more than anything, Solidarity’s eventual overthrow of Communism was not predicated on the struggle to escape the shackles of oppression. More, that eating pickled cabbage, morning, noon and night and wearing those hideous polyester flares and delta-wing rayon shirt collars was the ultimate catalyst for the Velvet (not crushed, one hopes) Revolution.

 The plot, such as it is, climaxes with the guys ‘stinging’ the Secret Police out of their shady currency stash, the MO being to get them stoned on a jar of hallucinogenic canapés and hash-cakes; which they do with ambiguous success following a highly diverting Hippy-Kitsch psychedelic freak-out tableau.

Amusingly engaging with a cunning plan. Recommended.

This year’s Middle Eastern Film Festival boasts the strongest line-up of films yet, with new releases by Nuri Bilge Ceylan, Jafar Panahi and Mohammed Rassoulof appearing alongside the work of rising filmmakers such as Morteza Farshbaf, Hesham Issawi and Lelyla Bouzid, and a succinct retrospective on Kurdish cinema which, despite the groundbreaking efforts of Yilmaz Guney in the seventies, only really came to prominence over the last decade and half.

Anita Clark, Portfolio Manager – Festivals, Touring and Dance, Creative Scotland commented:

‘Scotland has become a stage for world cinema and we are excited to welcome back the Middle Eastern Film Festival to once again take its place in the spotlight. This important festival gives Scottish audiences the opportunity to experience the perspective of Middle Eastern film makers and artists in this time of incredible change and current conflux in that area. With its strongest programme to date showcasing its strength in film and visual art, Creative Scotland is proud to have invested in this inspiring and diverse festival.’

The purpose of the Middle Eastern Film Festival is to provide a focus for the study and promotion of Middle Eastern cinema. The geographic area covered by the Festival broadly covers that outlined in Oliver Leahman’s ‘Companion Encyclopedia of Middle Eastern and North African Film,’ which includes Central Asia, North Africa, Turkey, Israel, Egypt, Palestine, Lebanon, Syria, Iran and Iraq. Following on from the retrospective on Iranian cinema in 2009, and Egyptian cinema in 2010, and Turkish cinema in 2011, this year’s retrospective will be on the highly regarded Kurdish cinema.

The retrospective on Kurdish cinema takes as its starting point Yesim Ustalogu’s poetic masterpiece, Journey to the Sun, a film that announced the arrival of a new Kurdish cinema, then takes its own journey through a remarkable selection of works that places Kurdish filmmakers within the context of Middle Eastern cinema and the broader diaspora.

At its best Kurdish cinema not only evokes the sufferings and travails of its people, but also contains moments of great lyricism, humour and humanism, and it is these qualities that have struck such a resonant chord with moviegoers and critics alike.

Complementing the Kurdish season will be a day workshop, facilitated by Mustafu Gundogdu, one of the pre-eminent authorities on Kurdish cinema, a personal appearance and masterclass by acclaimed documentary filmmaker Yuksel Yavuz, and a talk and screening with Hakan Akçura.

For the first time the festival will also be showcasing visual artists with a connection to the region, in a programme of works curated in association with the internet channel The Agent Ria:registeredinart.  Featured artists will be Hakan Akcura and Erkan Ozgen.

Contact and Booking: 0131 228 2688, www.filmhousecinema.com

The Middle Eastern Film Festival is part of the Edinburgh International Festival of Middle Eastern Spirituality and Peace. From Sunday 29 January – Saturday 24 March 2012 the 9th Annual Edinburgh International Festival of Middle Eastern Spirituality and Peace, MESP 2012, will bring together people from a wide range of spiritual backgrounds, people working with peace, conflict, reconciliation and justice, educators, teachers, scholars and students, people from artistic and cultural backgrounds, people working with health, wellbeing and healing experiences and concerns, people from diverse cultures, traditions and communities, and people from across Scotland and internationally.

Dir. Clint Eastwood

Screenplay Dustin Lance Black

Music Clint Eastwood

Cert. 15

Biographical/Drama/Historical

Two reasons at least why you should see this studied gem: firstly the outstanding performances from both DiCaprio in the eponymous role and that of  Armie Hammer as Clyde Tolson, Hoover’s unconsummated but ever faithful assistant G-Man love interest. Secondly, just to admire and immerse oneself in Clint Eastwood’s consummate directorial craftsmanship.

Add to this, screenplay writer, Dustin Lance Black’s sympathetic generosity that eschews both gaudy voyeurism and over-sentimentality. The ensemble, that also includes a bravura performance by Naomi Watts as Hoover’s ever-faithful secretarial confidant, Helen Gandy, bring to a complex, sometimes repugnant man of patriotic zeal bordering on criminal fanaticism, a subtle and nuanced portrait.

The narrative device, whereby characters and events are shaped through flash-back and re-construction as Hoover dictates his memoirs, is further embellished with insight into his intense devotion towards his formidable mother, Anna Marie Hoover, played with dignified resilience by Judi Dench.

Whilst some may have reservations with the narrative being claustrophobic and lacking in dynamic, this is rather missing the point. The film aims to be truthful to the dramatic events and the mindset of both the man and the times.

A contemporary scourge of all things ‘Pinko-Leftie’, Eugene McCarthy, of Witch-Hunt infamy gets short-shrift from J. Edgar:- “He’s not a patriot, he’s an opportunist.” Nevertheless, between them they destroyed thousands of reputations and careers.

Hoover’s seething disgust with, and fear of, the perceived Bolshevik threat to all things American. lends moral justification for his practice of file-indexing and illegal ‘wire-tapping’ that lead to the accumulation of his legendary ‘Confidential Files’ on prominent politicians and public figures. His championing of a scientific, forensic approach to evidence-based detection during the Lindbergh baby kidnapping case is revealing. Though there is now, literally, not a shred of evidence to prove the files’ existence. Their posthumous destruction being a promise kept by loyal Miss Gandy.

And not least, Hoover’s parting Machiavellian raised-fingers to tricky-Dicky Nixon’s grubby machinations to get his hands on them.  J. Edgar’s Nemesis also confronts him, as a frail and aged Clyde berates him for the falsehoods and lies in the autobiographical manuscript we have seen dictated and illustrated through narrative flashbacks. We pity his pathetic self-denial but are angered by his deception. He had a skeleton or two in his own cupboard as well as a place for hanging dresses. A film of great achievement complimented by a J.S. Bach influenced music score from Eastwood.

 Photo : Warner Brothers

Movie Magic in a Box

For the last twelve months, children approaching their 8½ birthday have been sending hand-written letters to the Foundation, asking for their favourite films from a short list devised by the Foundation’s directors.  Their chosen films are then beautifully wrapped – as the animation shows – and an individually addressed Happy Movie Birthday card is added.

Scottish based not-for-profit organisation, the 8½ Foundation is the brainchild of Tilda Swinton and Mark Cousins and is dedicated to introducing world cinema to children. Its aim is to create a new birthday: a film birthday, at the age of 8½, that celebrates the power of cinema to expand children’s horizons and welcomes children into the wider world of movies.

Movie Magic in a Box from 8 1/2 Foundation on Vimeo.

Mark Cousins, Director, 8½ Foundation commented: “This beautiful little animation captures the magic of what the 8½ Foundation is trying to be.  We are so proud to be sending so many great films to so many kids across Scotland.  We are being asked all the time to replicate the success of 8½ around the world.  It’s great that it started here.”

The Foundation’s co-director, Tilda Swinton, echoed this enthusiasm, adding “we are beyond thrilled at the passion and wonder with which so many children are seizing on our invitation to take this beautiful, shared, adventure into magical, unknown cinema.  First Scotland, next, the world…”

Iain Munro, Creative Director, Creative Scotland commented: ‘Congratulations to the 8½ Foundation on sending their 2000^th DVD.  With investment from our Inspiring Communities funds, this fantastic initiative promises to excite and inspire children, welcoming them into a new world of creative experiences. It’s a great start to the Year of Creative Scotland and a beautiful animation to set the scene.’

The Foundation has touched the lives of many children in Scotland, opening their eyes to the magic of world cinema.  One of the participating children enthused: “I thought that [Our Relations] was really hilarious! I watched it with my mum and we both laughed our socks off. Thank you so much for my dvd’s, for my 8½ birthday.”

A mother emailed to share her and her daughter’s excitement: “My daughter received her movies today. She tore them open a little while ago and I have no doubt we’ll watch all three this weekend… it’s a great initiative – she has been so enthused by the whole thing  – a big hearty resounding thank you.”

And teachers are delighted, too: “Thank you for the parcels! There was great excitement when the post arrived and the children took a look inside the lovely red boxes. Everyone remarked how beautifully they were wrapped and I requested that the children wait until they got home to open them with their parents. On Friday many came to school wearing their 8½ badges and news of which films they had received.”

You can follow the Foundation on Facebook.

Producer Steven Spielberg/Kathleen Kennedy

146 mins. War/Drama

In the Spielberg cinematic bestiary of badly behaving animals we have previously encountered boat-eating psychotic sharks, dysfunctional Raptors with a Ph.D in stealth attack and a T Rex with lysine deprived anger-management issues.

Now, at a merciless cinematic gallop, he brings us a feel-good, shaggy-mane epic melodrama that only the most hardened of cynics won’t feel a tug on their heart reins. Those who consider denouements predicated on Fate and coincidences generosity a little stretched, look away now.

Based on Michael Morporgo’s eponymous short novel and the critically acclaimed equine animatronic stage production, the writers, Lee Hall and Richard Curtis, screenplay adaptation remains essentially faithful to the original text. One fundamental narrative conceit needing to be changed being that horse-hero Joey, in the novel, is the narrator fluent in English, French and German, listening together with a passable grasp of clotted-cream thick Devonian accents. His ability to manage the latter stands him in good stead when he’s hacking his way through the mud and blood trench slaughter of the World War 1 battlefields.

It’s a simple story, unashamedly sentimental but, as ever within the narrative themes that Morporgo and Spielberg do best, the essence is that of loyalty, honesty, heroism and hope. The film opens with John Williams’ luscious orchestral strings paying homage to his namesake, Ralph Vaughn’s Lark Ascending, as we aerial-view the harsh beauty of the Devonshire granite tor landscape where young Albert (Jeremy Irvine) and family struggle against agrarian harshness and dad’s drinking.  Albert befriends the fiery colt, Joey, and what a team they make. But war-clouds are rolling across the valley, demanding both man and horse enlistments.

The War sees Joey parted from Albert when he is sold (it’s that or eviction) to be a champion cavalry horse. The set-piece battle-charge, considered by the dashing fellows as rather unsporting to catch Jerry with his pants down, rapidly descends into carnage as medieval tactics confront 20th century machine-gun cross-fire. The charge through the golden field of flax realised by Janusz Kaminski’s cinematography is stunning. Whenever sentimentality might encroach just a little too much, Spielberg’s directorial horse-sense brings staggering realism to the fore with the Tommies’ horrific ‘over the top’  attack across barbed-wire Hell.

Perhaps similar to the passed-on boots in All Quiet On The Western Front, Joey passes into different ownerships behind and along the German Front. Though it is lauded as a family film, and rightly so, the 12A rating should come with advisory caveats. At 146 minutes it might be a demand on younger derrières and the battle scenes, though not of the Private Ryan graphic terror, are very powerful indeed. The demises of various dobbins (who shall remain anonymous) are going to demand a family pack of Kleenex. An engrossing and uplifting film. Recommended.

Romance/Comedy/Drama

Dir. Michel Hazanavicius

Cert PG.

Set in the roaring late 20s Art Deco drenched never-never ‘Hollywoodland’ of perpetual sparkling sunshine and matching teeth, silent-movie star, George Valantin, (Jean Dujardin) swash-buckles his way to adoring fans’ hearts with derring-dos, wry-eyed twinkles and dashing pencil-moustache panache. Meanwhile, photo-shoot opportunist fan, Peppy Miller, (Berenice Bejo) beguiles her way in to a justified chance casting as a flapper-dancer. Her association and developing mutual affection, with George, ensures her star ascends rapidly. In an utterly forgivable nostalgia soaked homage to the glamour and glitz, rags to putting on The Ritz melodramatic romance of the silent movies’ transition into ‘Talkies’ and the apotheosis of Fred Astaire tap-dancing into orbit, The Artist justifies the many Festival pre-release accolades bestowed and awards surely to follow. Not least, scene-stealing, ever faithful companion to George, Jack Russell terrier, ‘Uggie’ together with good and faithful chauffeur Clifton (James Cromwell). Keep an eye out for celebrity cameos as well as enjoying the pithily crafted dialogue cards.

There are moments of wry irony, sentimental but never kitsc, vignettes amongst the many set pieces. The scene where George’s dream (a Hitchcock/Cohen Bros homage) becomes a surreal audio nightmare is both conceived and realised brilliantly. So many aspects of this film just seem to engage and intrigue but never pander or patronise its audience. Ludovic Bource’s luscious music score embraces and enhances the visual narrative whilst Guillaume Schiffman’s cinematography provide soft-focused lines to both characters and sets whilst eschewing the cliche of gauze-lens indulgence. George’s pride and prejudice against the ‘Talkies’ becomes his Nemesis and his inevitable downfall from champagne heights to bar-room bum is poignantly portrayed. But, alongside his life-saving faithful friend, a guardian angel watches over him.

A silent movie that speaks volumes: a must-see, cinematic delight.

The Artist is showing in Edinburgh at the following cinemas:-

Owner of La P’tite Folie and Le Di-Vin Wine Bar, Virginie Brouard is hosting a charity screening event this week to highlight her charity work in Ethiopia.

You missed several UK premieres of some startling films. You missed out on some eye-opening documentaries. You missed out on the ambience of what was an exceptional five days of films and events that shared the works and promoted the voices of a variety of Africa’s talented film makers while giving people a sample of what Africa is today.

Wednesday 2nd November: The majority of the films were shown in the Filmhouse cinema, which is where the first showing took place. Just before it started, drums roared through the auditorium, really setting the rhythm for the night. Everyone in the packed cinema clapped and was encouraged to sing along with the musicians and dancers, with hollers and jeers which gave the whole building a sense that it was about to take off. The momentum was palpable as the self-named ’professional key-changer’ instructed us to point and shout at the people next to us to get everything off our chests. It was a unique thing to experience in a cinema to say the least, with the participation in African song reflecting what the festival was there to achieve: to engage people with Africa and its issues and to become acquainted with African film.

The introduction came from two of the managers - Isabel Moura Mendes and Kari Ann Shiff – who welcomed the cinema-goers and acknowledged the sponsors of the event whose support was truly appreciated. Thanks were given to Lizelle Bisschoff, the festival’s founder and the person responsible for giving so many films such a substantial platform. Peter West from the Scotland Malawi Partnership also spoke, referring to recent comments made by artist Grayson Perry who commented on the ‘guilt and fear’ that the majority of people in the West supposedly feel towards Africa. West was reassuring when he said that there is a lot more to the country and the vitality, enthusiasm and hope that African cinema portrays is not reported often enough in the wider media. “This is to be the African century,” he concluded.

The theme of this year’s festival was childhood and youth. The opening film was ‘Bab’Aziz: The Prince Who Contemplated His Soul’, an imaginative and heart-warming story that had a real sense of discovery through each of the character’s journeys. Confusing at times, nonetheless the film was stunningly shot, with sweeping sand scenes that were magnificent to see on the big screen. After the screening there were some complimentary South African wine and canapés enjoyed by all, as well as music from Cynthia Gentle. It was a tremendous start to the festival proceedings.

Thursday 3rd November: The first showing of the day was ‘The Mirror Boy’, the highest grossing and most watched film this year in Nigeria. Obi Emelonye, Director of the film, attended the screening and gave a question and answer session before his full seminar in the afternoon.

He said: “It’s a great opportunity to be at this festival – it’s what you dream about when you want to become a film maker. ‘The Mirror Boy’ is about a boy getting lost to discover himself, and I feel the film was a child of destiny. People have really supported it and I think it’s been so successful because of its ambition and the universality of the story. People have found a connection with it, for which I can only be grateful.

“In pursuit of becoming an African film-maker I have travelled far and learned that we need to be bold enough to see what is good or bad and needs changing in the country. ‘The Mirror Boy’ sees the story though the eyes of a Westernised ‘Africa-phobe’ which some people in the UK can relate to. It’s been a blessed project and I tried to accommodate everyone by increasing the number of supporting roles to sow the seed of success and leave something positive behind. I’m thankful to the President and the public for the access we were given which created a conducive, productive environment to work in.”

The other screenings of the day were ‘L’arbre aux espirits’ and 3 UK premieres: ‘Hidden Truth’, ‘De corpo e alma (Body and Soul)’ and ‘Notre etrangere (The Place in Between)’.

Friday 4th November: One of the highlights of the festival was the AiM Short Film Competition that showcased seven films that were individually incredible, but when shown together gave an impressive snapshot of some of the issues that Africa faces today. The format was perfect; to get 7 angles within 2 and a half hours was immersing and the audience had the chance to vote for their favourite as part of the Audience Choice Award. The films were ‘Lezare (For Today)’, an engaging, thought-provoking film, ‘The Tailored Suit’, which had a haunting final sequence, ‘Dina’, an engrossing tale which had a particularly startling scene, ‘Garagouz’, a story about storytelling, ‘Khouya (My Brother)’, a powerful, violent production with an emotional ending, ‘Umkhungo (Gift)’, a professional piece with fantastic special effects and a real message and ‘Tinye So’, a spiritual, musical escapade that was nicely shot. ‘Umkhungo’ won the AiM Short Film Competition, and the result of the Audience Choice Award was revealed and shown again on Sunday.

The other screenings of the day were ‘La colere des dieux (Anger of the Gods)’ and 4 UK premieres: ‘Mbambu and the Mountains’, ‘Waited For’, ‘Waliden, enfant d’autrui (Waliden: Children of Others)’ and ‘Le collier et la perle (The Necklace and the Bead)’.

Saturday 5th November: As well as African Storytelling by Kenyan/Scottish storyteller Mara Menzies, there were African Films for Children (a selection of seven) and drumming and dancing workshops. There were two double bills that included a brief debate on some of the themes that the films brought up. ‘Slaves’ was shown with ‘Fambul Tok’ and ‘Where Do I Stand?’ was shown with ‘State of Mind’. Ali Zaoua, prince de la rue (Ali Zaoua: Prince of the Streets)’ was the final screening of the day.

The first of the double bills was quite a sombre affair. Both ‘Slaves’ and ‘Fambul Tok’ were relatively heavy viewing. ‘Slaves’ was an animation that interviewed two children liberated from slavery with terrible tales to tell, and ‘Fambul Tok’ showed the forgiving and reconciliation process that was essential for communities to move on from earlier traumas. The discussion was hosted by Prof. Jolyon Mitchell, Professor of Communications, Arts and Religion at the University of Edinburgh, Dr. Eolene Boyd-MacMillan, Research Associate, Psychology & Religion Research Group (PRRG), Isabel Moura Mendes and Lizelle Bischoff. There were a number of views expressed, with the anonymous animation of ‘Slaves’ commended. Mitchell was initially distanced from the subject because of its format but said he was eventually haunted by it. Macmillan spoke of the responsibility of the filmmaker not to diminish the significance of the subject. The ending of ‘Fambul Tok’ was discussed in depth, along with the film’s key themes.

Sunday 6th November: The penultimate film was ’Pegase (Pegasus)’, a vibrant, engaging production that was dramatic and suspenseful throughout. The closing screening was ‘Un pas en avant: les dessous de la corruption (One Step Forward: The Inside of Corruption)’, an enthralling and entertaining film that was a nice way to finish the festival (pictured). The dialogue was, at times, comedic and the audience were drawn in to the main character’s troubles and willed him to overcome them. The winner of the Audience Choice Award was ’Lezare (For Today)’ and was shown before the final film.

Regarding the overall success of this year’s event, Isabel Moura Mendes, one of the festival managers, said: “We are extremely satisfied with how our audience responded to our programme this year. Once again we had a fantastic opening night, with our supporters, collaborators, friends and repeating audience reinstating their support and demonstrating that Africa in Motion has already truly established itself as a standalone festival of its own right, with a growing profile in the cultural calendar of Scotland”.

An Africa in Motion goodie-bag containing Fairtrade products and information was generously given to all attendees – a physical memento of what was a memorable five days.

The festival is a true credit to Edinburgh. Returning to the opening sentiment, if you missed this year’s Africa in Motion Film Festival, you really missed out. There’s always next year though, and Isabel is hopeful that the seventh festival will be just as successful.

She continued: “AiM’s profile has clearly grown, and even with a shorter festival this year, our audiences were definitely not less engaged – on the contrary. We feel the responsibility to build on this momentum and bring the festival to schools, through our Schools Tour to happen in February 2012. It is also clear to us – through the demand we have received once again this year – that there is an opportunity for the festival to expand its reach and establish a more concrete presence in Glasgow, so we will be working towards that goal too.

“In regards to next year’s theme, there are clearly interesting strands, themes and discussions being had around African cinema at the moment, so we will continue being part of these conversations by looking into other festivals, following academic discussions, and connecting with our network of filmmakers, producers and practitioners of all sorts in order to  understand where Africa in Motion and our audiences will be dedicating a closer look , as we devise next year’s proposition”.

Largely run by volunteers, the festival’s programme is similarly far reaching in its broad spectrum of film genres; incorporating feature fiction and documentary, animation and shorts from an array of filmmakers.

The opening film is ‘Bab’Aziz: The Prince Who Contemplated His Soul’, a visually arresting story of the relationship between a man and his granddaughter by Nacer Khemir. There is also a screening of Obi Emelonye’s new feature film ‘The Mirror Boy’ and a filmmaker’s seminar with Emelonye himself on Thursday 3 November.

Other highlights from this year’s festival include a programme of documentaries developed in partnership with the University of Edinburgh’s Centre for Theology and Public Issues as well as a short film competition, now in its fourth year. This provides audiences with an opportunity to see a diverse selection of films from emerging African filmmakers and to present the Audience Choice Award to their favourite piece of work.

To complement the season of films, there are a number of workshops for African music, dance and storytelling and, in-keeping with our theme, an entire day programmed for children which combines engaging films with fun events on Saturday 5th November at the Filmhouse on Lothian Road, where the majority of screenings will be.

The Edinburgh Reporter will be reporting from some of the screenings, so remember to check back for reviews and analysis at the beginning of next month.

What are your general thoughts about the festival as a concept?

I respond well to the idea of the festival and festivals in general. I believe the arts have a real influence on helping us to understand life, and I feel all art is nutritious; it’s healthy to enjoy it and it has a positive effect on people.

How would you summarise the Scottish Mental Health Arts and Film Festival in one sentence?

It’s about challenging people’s perceptions of mental health by presenting positive attitudes in an attempt to get rid of the stigma surrounding it.

What has been your film highlight of the festival so far?

I’ve enjoyed all of it, but my two highlights I believe have yet to happen! The jewel in the crown for me will be the award ceremony next Monday. I was a part of the judging panel who watched over 100 films and had to pick out the very best. It was simply inspiring to see film makers flying in from all over the world sharing different stories from different backgrounds – it’s brilliant when you see it all come together.

My favourite film this year is also yet to be shown but I always look forward to watching it. ’Local Hero‘ makes me feel like I’m taking a holiday, in an odd way. It makes me feel proud to be Scottish and it truly did change me when I first saw it aged 13. It’s a positive film, and one that brings back many memories. It’s interesting to see no one with a mobile phone in their hand and none of the technology that we have today. There’s a sense of nostalgia each time I view it. It’s on in The Filmhouse on Sunday 23rd October at 3:15pm.

What is the most important thing for people to take away from viewing the films at the festival?

It’s not just about one film or event. There are a number of elements making up the festival but I’d encourage people to go to one or two films to experience different cultures and ‘categories’ that people are sometimes placed in. Most people find a lot of the films eye-opening and they realise just how varied people’s lives can be. It’s a liberating experience listening to war veterans and dementia sufferers talking about their endeavours.

What, if any, has been the biggest change in film making developed since the festival began?

The biggest change has to be the transition to digital that has developed since some films were first produced. The film used to have to be sent to London and it took an age until it could be watched, but now everyone can express themselves through their phone by making their own film and telling their own story directly, at any time. They can describe their own condition in an instant and its only possible through new technology.

The digital change is an exciting one. Everyone has a voice but with a mobile they can let that voice be recorded, edited and published on YouTube relatively easily. The lack of distribution barriers has made it much easier to express yourself. Crooked Beauty is an incredible production that publicises the effect of expression well; it’s a beautiful film which has come about as a result of something terrible happening to the central character.

What has been the reaction to the festival this year?

On a general note we have felt a positive response, particularly towards the showing of ‘Away from Her’, a story that deals with Alzheimer’s. There was a panel session with two people suffering from dementia. They were such eloquent speakers and the nods from the audience showed people responding well to what they were saying. When you do these kind of events they really do blow the cobwebs away, and many do consider them to be life-changing experiences. The audience gets a brilliant opportunity to see something that they haven’t seen before – it’s truly eye-opening.

What would you like to achieve at next year’s event?

We definitely want to reach more people who were perhaps not ’represented’ as such this year. We don’t necessarily want a greater volume of people but we want to make it as universal as possible by getting a greater variety of people’s stories out there from different groups across the world.