Edinburgh International Film Festival (EIFF) director Paul Ridd says he “would love to” create a film market at the festival.
“In terms of establishing things like a work-in-progress, or more market screenings, I’d love to explore that going into the future, and I think there’s a gap for it in the UK,” says Ridd, as he prepares for his third edition leading the Scottish event from August 13-19.
“It starts with building the confidence of the market, of sales reps, producers, filmmakers – everybody involved in the production and distribution chain,” says Ridd of the festival’s path towards a more formalised market. “You start with that principle of awareness building. From day one, we had to grow the reputation and prestige. We’ve done that through demonstrating the success rate of the films we’ve shown, and the £50,000 prize [the Sean Connery Prize for feature filmmaking excellence].”
Numbers of attending UK and international sales agents, and UK buyers, are up this year, Ridd confirmed. “Getting them to come and experience the festival and engage with the work is half the battle. Once they come here and go to our P&I screenings, or the industry programme, that creates ambassadors; but also creates the sense that there’s business to be done here.
“We’re trying to build the confidence of the industry, the press, the audience, and then hopefully get to a point where the world premieres not only have that spotlight in the festival, but also where we’re getting films picked up out of the festival. Which has happened already, but we want it in a more substantial way.”
Edinburgh’s industry offering this year includes the inaugural UK Film Conference, a ‘state of the nation’ day of panels opening with a keynote discussion between BFI CEO Ben Roberts and Picturehouse creative director Clare Binns.
This year’s industry programme will be accessible to all industry passholders and press, after select sessions on the 2025 programme were run behind closed doors. “It’s about being as open doors as possible, creating spaces where there are opportunities for people to meet one another, to pitch,” says Ridd. “We want to make it feel welcoming, rather than a hermetically sealed thing that’s only accessible to certain individuals.”
Different
Programme highlights include a 30th anniversary screening of Trainspotting with live commentary by cast and crew, followed by a club night with DJ sets from the book’s author Irvine Welsh, and Darren Emerson of Underworld, who co-wrote the track ‘Born Slippy .NUXX’ made famous in the film.
The event came about as a way to mark the £10m regeneration of Leith Theatre, which was removed from the Theatres at Risk Register last month. Ridd added the live commentary element after seeing it done for Richard Linklater’s Nouvelle Vague at Sundance in January. “I’m a big fan of the old school DVD commentary. I’ve grown up listening to directors and actors speaking about their work over a film. We wanted to bring together that cast and crew to celebrate the film, it’s going to be really fun and different.” Cast members Ewan McGregor and Ewen Bremner are set to attend, with writer John Hodge, production designer Kave Quinn, costume designer Rachael Fleming, and producer and EIFF chair Andrew Macdonald.
Ridd has achieved his aim of increasing the festival’s number of world premieres, up from 18 last year to 21 this time – 55% of the 38 new films at the festival. “That’s an important principle for us, the idea of something that buyers, and crucially audiences haven’t seen before,” says the festival director. “You’ve got an incentive to come here and look for new work to potentially champion, and maybe do some business with.” First view titles include Paul Wright’s Mission starring George Mackay as a solitary man who embarks on a mission of self-discovery through extreme pursuits; and Lindsay Ryan’s houseboat holiday comedy Capsized starring Rhys Ifans.
Surrounding them with titles carrying buzz from other festivals is part of Ridd’s strategy, with UK premieres including Louis Paxton’s The Incomer, opening the festival, and Lance Hammer’s Berlinale selection Queen At Sea.
He also highlights under-the-radar selections including Tamra Davis’ The Best Summer, a documentary about the 1995 Summersault rock festival; and Alexis Alexiou’s Greek thriller Sea Of Glass.
“You bring people to those films they’re excited to see from Cannes, Berlin, or Sundance, then they’re more likely to take a chance on stuff that doesn’t necessarily have existing talent or a name attached to it.”
Alongside the Trainspotting gang, guests this year include Bruce Dern, who stars in William Scoular’s Northbound which has its world premiere at the festival; Kenneth Branagh, with a screening of his 1996 film Hamlet; and producer Christine Vachon. All will take part in individual conversation events about their work. “We have a wish list of people,” says Ridd. “You want to celebrate that whole career in a rounded way.”
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