Analysis: EIFF is bolder, more focused and a clearer vision than last year

THIS year’s film festival already feels like a much bolder and more focused event than last year’s rushed and sloppily put together programme.

That can almost certainly be put down to the guiding hand of new artistic director Chris Fujiwara, who sets out his stall in this year’s brochure with a clear-headed statement of intent that puts the emphasis back on the artistic value of cinema as opposed to the gibberish management speak that blighted James Mulligan’s brief tenure in the post.

That’s certainly reflected in the choice of films. Though the previously announced opening and closing gala premieres of William Friedkin’s Killer Joe and Pixar’s Brave will respectively provide some edginess and escapism, a first glance at the rest of what’s on offer suggests a provocative mix of movies designed to broaden audience horizons rather than simply serving up big-name previews or films that have already had the approbation of other major film festivals.

Of course, detractors may view that as continuing sign of Edinburgh’s diminished status in an overcrowded international festival scene, but at this stage I’d rather view it as being indicative of a strong curatorial vision. Which isn’t to say there are no big talking-point films. James Marsh – whose documentaries Man on Wire and Project Nim have been EIFF highlights in years past – returns with his excellent-looking, Clive Owen-starring IRA thriller Shadow Dancer, as does The Blair Witch Project co-director Eduardo Sánchez, who will be premiering his new horror film Lovely Molly.

There’s a return to the big screen for Robert Carlyle too courtesy of California Solo, which finds the Glaswegian actor playing an ex-Britpop star living in exile in LA. Elsewhere, though, EIFF seems intent on breaking open less well-established talents and identifying emerging trends and film-making hotspots. There’s a strand dedicated to the new wave of filmmakers emerging from the Philippines, as well as one collectively dedicated to those from Argentina, Chile and Uruguay.

Perhaps reflecting Fujiwara’s previous Tokyo base, Japanese films feature prominently, and the decision to reinstate the Michael Powell Awards seems to have resulted in a stronger line-up of British films, too.