78th Edinburgh International Film Festival: Diaries

The 78th Edinburgh International Film Festival, the world’s oldest continually running film festival, took place from 14 to 20 August. The Festival has among its objectives to accelerate the discovery of new talent through its two main competitions: the Sean Connery Award for Excellence in Feature Film Directing, worth £50,000, and the Thelma Schoonmaker Award for Excellence in Short Film Editing, worth £15,000, both decided by public vote. The festival opened with a film by director Eva Víctor, Sorry Baby, a co-production between the United States, Spain and France, where she demonstrates her remarkable versatility as she takes on the roles of writer, director, and lead actress in this beautifully crafted film — a witty, graceful, and deeply moving story of a young woman confronting the shadows of her past while striving to build a future of her own.

The different sections of the festival: World premiere competitions, New feature films, Short film programmes, Retrospective screenings and ‘In Conversation’ events, offered to the public, who packed every session, celebrated and award-winning works straight from Sundance, Berlinale, and Cannes, alongside exciting new releases, and exceptional contributions from renowned figures in the film industry like Andrea Arnold, Ken Loach, Paul Laverty, Renée Zellweger and Jeremy Thomas.

In Conversation with Legends

Jeremy Thomas is a British film producer and the founder and chairman of the Recorded Picture Company. Among his most notable achievements is producing Bernardo Bertolucci’s The Last Emperor, which earned the Academy Award for Best Picture in 1988. In 2006, he was honored with the European Film Award for Outstanding European Achievement in World Cinema. The Edinburgh Festival was the setting for a fascinating conversation between the producer and film director and critic Mark Cousins, who had dedicated his 2021 documentary The Storms of Jeremy Thomas to him. Along the wonderful conversation, they shared photographs of fellow filmmakers and artists, and a soundtrack of music personally selected by Jeremy. He mentioned that many of his close friends are actors and musicians—one of whom, Tilda Swinton, once described him simply as “rock ‘n’ roll.”

Before meeting Jeremy in Edinburgh, I already felt a sense of familiarity with him, having watched the Mark Cousins’ compelling road movie documentary. Filming their talk felt like a natural continuation of that story—an experience I was honoured to capture.

Now 76, Thomas remains as passionate and determined as ever. Despite acknowledging the challenges facing contemporary filmmakers, he continues to create political films. His enduring commitment to creative cinema is both inspiring and necessary in today’s changing landscape.

Kevin Macdonald and Andrew Macdonald

Another highlight of the festival was the conversation between director Kevin Macdonald and his brother, producer Andrew Macdonald—two hugely successful relatives who’ve each carved their own path in the world of cinema. What made their talk so engaging wasn’t just the stories, but the easy, teasing warmth between them. It felt like we were eavesdropping on a family chat—one with Oscars (One Day in September, 1999), cult hits, and decades of industry experience in the mix.

The session kicked off with a brilliant video from the early 1990s, showing a very young Kevin and Andrew pitching the idea for what would become Shallow Grave (Danny Boyle, 1994) It was both funny and bold: they even called Sean Connery in Los Angeles as part of the pitch. The reactions from industry insiders at the time were mixed (mostly men)—many were sceptical. But one person stood out in the footage: Sam Fuller, who was effortlessly cool and encouraging, clearly seeing something in their enthusiasm. What added another layer to this conversation was an unexpected thread—morality in film producing. Both Jeremy Thomas (in his talk) and Andrew Macdonald touched on how, in earlier years, the moral compass in producing wasn’t always firmly in place in the pursuit of success. Is it about  the sense that it is time to admit, to honestly share this? That it can be (was, still is) a big part/element of success. There’s something refreshing about hearing that honesty now—from people who’ve seen both sides of the industry.

Films

Deaf (Sorda, Eva Libertad, 2025)

An intimate drama, Deaf tells the story of Ángela, a deaf pottery artist navigating the deeply personal challenges of pregnancy and motherhood in a world that still offers little support for the hearing-impaired. This is the feature debut of director Eva Libertad. With tenderness and clarity, she brings us into Ángela’s world, capturing the physical and emotional nuances of her experience. Premiering at Berlinale, It’s part of an exciting new wave of Spanish female filmmakers telling grounded, character-driven stories—especially about women facing everyday but deeply resonant life transitions. Deaf is about agency, communication, and finding strength even in the most difficult times.

After This Death (Lynda Myles, 2025)

It was a special screening, carefully curated by the brilliant film producer and former festival director Lynda Myles, who has impeccable taste and style in both films and life. Attending a film chosen by her for the festival came  with the promise of something truly special—a magical film experience.

After This Death is stylishly filmed and emotionally layered, exploring themes of love, obsession, and loss and women making their choices. Its powerful sound design and striking visual style create an arresting and unforgettable atmosphere.

Sanatorium (Gar O’Rourke, 2025)

It was fascinating to watch this documentary—directed by an Irish filmmaker with the support of a Ukrainian crew, many of whom I have known for years—in a full screening room filled with local people and festival guests. It was especially interesting to observe their reactions to the details, the cultural habits, and the jokes. This kind of experience often happens at festival screenings for me, but this time it carried an added weight, given the full-scale russian war against Ukraine.

The head of the sanatorium is portrayed as a true berehynia—beautiful, wise, warm, and always ready to help people heal. Each character is depicted with care and depth, and the sanatorium itself, along with its surrounding area, becomes a living character in the film. Gar O’Rourke masterfully balances documentary observation with humor and tenderness toward his subjects. On the day of the screening here, the film was announced to represent Ireland at Oscar, it was wonderful news and a well-deserved recognition of this heartfelt work.

As for the honours list, Abdolreza Kahani’s Mortician won this year’s Sean Connery Prize for Feature Filmmaking Excellence at EIFF, chosen by audience vote and supported by The Connery Foundation, with a £50,000 award. The film tells the story of a solitary mortician whose encounter with a fugitive singer forms the emotional core of this elegant, lo-fi drama. Kahani, returning to EIFF after last year’s A Shrine, presents Mortician within Spotlight Canada 2025, supported by the High Commission of Canada and The Beaverbrook Canadian Foundation.

Joanna Vymeris’s Mother Goose won the Thelma Schoonmaker Prize for Short Filmmaking Excellence at EIFF, selected by audience vote and awarded £15,000. Presented by Schoonmaker herself, the film is a modern-day fairy tale about grief and isolation, following a widow whose obsession with raising a goose spirals into tragedy.