![]() ![]() Valentina Herszage in Kill Me Please /Mate-Me Por Favor directed by Anita Rocha da Silveira. (This might be a good time to go make yourself a cup of tea and get comfortable!) There were many highlights including The High Sun, After the Storm, Paths of the Soul, The Handmaiden, United States of Love, The Eagle Huntress and Kevin Brownlow’s magnificent five and a half hour digital restoration of Abel Gance’s 1927 Silent masterpiece Napoleon to name just a few. The presence of pioneering archival content, exciting debuts from emerging directors, outstanding performances and provocative subject matter made this a super stimulating festival and an encouraging year for women in film. This year’s festival presented over 50 films including 6 shorts showcases, 26 Scottish and 3 UK premieres, with a thematic focus on The Roof of the World and timely celebration of women behind the camera. It’s about cherry picking the best films available, irrespective of where they’ve come from or who has made them. Held over 4 days, as opposed to 10+ at larger red carpeted festivals, here there’s no room for mediocre padding. While debate in the industry rages about diversity, race and the under-representation of women in film, look no further than independent films and this year’s IFF programme for a lived experience of equality without the need for branding. In exposing audiences to lives, cultures and places, unseen or unknown, independent cinema has a very significant role to play on the global stage. It shows you sights and people that you might otherwise never get the chance to experience.” This year’s IFF was full of such magic, in a way that feels very responsive to the times we’re living in expanding the world view rather than shrinking it. In the words of IFF Festival Director Paul MacDonald-Taylor “One of the most magical aspects of cinema is that it opens up a window onto the world. ![]()
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