This year’s Edinburgh Film Festival

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As has been the case for the past three years, Hope Lies at 24 Frames Per Second will be covering the Edinburgh Film Festival. The programme for the festival was released a couple of hours ago, and I thought it apt to point out a couple of films that I’m really pleased to see on the line-up. I won’t be at the festival myself; instead that pleasure goes to regular contributor Rob Girvan, who I’m expecting to offer forward a couple of his own anticipated highlights in the comment section below.

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Leviathan – The Canadian producers of Leviathan sent me a copy of the film last December, and unwatched it has remained, in the hope that the film would reach UK shores sometime in the near future. Edinburgh is (*I think*) the first opportunity to see the film on the screen for the first time.

Upstream Color – Shane Carruth’s remarkable film defies easy description, and here plays at Edinburgh in advance of a theatrical run later in the Summer. Having seen the film via Carruth’s Blu-ray run I can only imagine how thoroughly intriguing an affair it will be with an audience.

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Natan – David Cairns and Paul Duane’s film comes accompanied by the tantalising verse of “Why is Bernard Natan (1886-1942) not remembered as one of the true giants of French cinema, and how did his amazing story come to be forgotten?” in the Edinburgh programme notes. Check out the trailer for it, it looks remarkable.

The Story Of Children And Film – Mark Cousins’ new film recently swept through Cannes and impressed aplenty. Disappointingly absent from the DocFest bill, it was no doubt to be expected that Cousins’ film would play in Edinburgh, thanks to the filmmaker/writer/oracle’s relationship with the festival.

All manner of other films close out the programme, with the more mainstream likes of Sofia Coppola’s The Bling Ring and Noah Baumbach’s Frances Ha sitting alongside such world cinema gems as The Last Time I Saw Macao from Portugese filmmaker’s João Pedro Rodrigues and João Rui Guerra da Mata. The retrospective strand on French filmmaker Jean Grémillon is a major highlight, and extends beyond the Scottish border to London and the British Film Institute through July. 

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One Comment

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  1. Having had a read through the fuil brochure, a few films are already coming to the fore. Above and beyond the ones you have mentioned Adam, these are some of the films which have caught my eye –

    Call Girl – as part of the festival’s focus on Sweden strand of films, this film takes on the tough subject of underage prostitutuion within Swedish political circles in the 1970s.

    Shooting Bigfoot – what looks like a bugnut documentary about a British documentary filmmaker who heads to America to record Bigfoot hunters and gets more than he expected. The trailer for this film makes it look like it will be a lot of fun.

    Fire in the Night – One of the great things to see this year is a focus on Scottish films, and this documentary, about the Piper Alpha oil rig disaster of 1988, looks set to be a standout.

    The Great Hip Hop Hoax – Two Scots manage to fool a record company that they are American rappers. There has already been some buzz about this film on twitter.

    Days of Grace – a kidnapping thriller set in Mexico city and against three World Cups. It should have a great soundtrack from the likes of Nick Cave and Massive Attack.

    One of the things I am most looking forward to is the Richard Fleischer retrospetive, and in particular seeing The Boston Strangler and 10 Rillington Place on the big screen – two films which were far ahead of their time.

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