Edinburgh International Film Festival Diary #1
Although the programme isn’t ostensibly the most exciting I’ve seen, the Festival in general does seem to have a better balance this year between its need to make money and sell tickets.
OldBoy stood out and some of the most unendurably self-important twaddle Ive ever sat through. Remember Los Muertos? Of course you dont. No one does. Its about a guy who gets out of prison and spends the next hour and a half on a boat on a river. Thats it. A bad festival can do that; no matter how cynical you are about Hollywood, during a pretentious navel-gazing borefest you may find yourself wishing a car or two would explode. One of the few entertaining elements of seeing such movies at the Film Festival is reading the Catalogue afterwards to see the intellectual acrobatics involved in defending and praising it. I just opened it randomly and found myself reading this:
The lure of islands, their fundamental thereness, their separation from and fragile connections to the rest of civilisation, their isolation and their direct correlation in the imagination with existence all these, and more, make islands powerful places for filmmakers to land.Uh huh. Im always disappointed when an island doesnt live up to its thereness. But what exactly does that tell me about the movie? Does it suggest that its good, or that someones having to go to a lot of trouble to cover up the fact it isnt? I wont say what film that quote applies to, because its irrelevant and I dont want to sound like Im picking on it (Im not). But the line walked between analysis and publicity at a film festival is a fuzzy one. Why am I being so negative about a Festival that I love? I suspect its because last years Festival, the 13th successive one at which Ive attended, was such a let down. Celebrating the 65th birthday of the Festival, it did away with the glitz and red carpets (of which the Festival only ever had a finite supply), threw out the Awards, and stopped using a local multiplex for screenings, instead splitting its screenings between the (roughly) 250-seat capacity Filmhouse and Cameo art cinemas, and the 1900+ capacity Festival Theatre. The problem of this dichotomy was highlighted on the opening night, when The Guard, though an entertaining film, only filled about two-thirds of the theatre. It was, I have reliably been informed, the first time ever that the opening night film hadnt sold out. The response, from critics and audiences, was decidedly muted, with several people criticising the money-saving decisions; the removal of any glamour and celebrity from the festival only had the effect of reducing the festivals visibility, with many people in Edinburgh barely noticing it had taken place. This has, thankfully, been addressed. This year sees a new artistic director, Chris Fujiwara, at the reigns; the Awards have been reinstated (this years Jury is led by Jim Broadbent), the multiplex is back in use and even a little dose of celebrity has returned; I for one cannot wait until Elliott Goulds Q&A next week.