After last year’s temporary edition, the 77th Edinburgh International Film Festival is set to revive its industry program, following the 2022 collapse of its parent organization, the Centre for the Moving Image. Scheduled from August 16 to 18, the industry segment will run alongside the festival’s main events, which are from August 15 to 21.
This industry-focused weekend will offer a range of panels and networking opportunities for both Scottish and international creatives, alongside new collaborations with Fringe organizations and venues. Panellists include “Scrapper” director Charlotte Regan, BBC Film director Eva Yates, WME Independent head Alex Walton, Picturehouse Entertainment acquisitions manager Julia Trawinska, and producer, writer, and curator Lynda Myles.
Speaking exclusively to Variety, Scotland-based producers expressed their enthusiasm for the industry program’s return while highlighting the ongoing need for more year-round networking and talent development opportunities in Scotland. Nadira Murray, BAFTA Scotland-winning producer of the 2022 EIFF feature “Winners,” eagerly anticipates discovering emerging talent. “As a producer, I am heading to Edinburgh to meet new voices,” she noted.
Murray, a co-founder of Sylph Productions, aims to identify fresh talent and potential intellectual property. She praised the festival’s collaboration with Screen Fringe, noting, “I send them what I am interested in and they come back with a list of what I can see while in town. This creates more opportunities for creative exchanges in Scotland during this time of year.”
Alongside networking, Murray is also excited about the In Conversation events, a sentiment shared by Wendy Griffin, line producer for the festival’s opening film, Nora Fingscheidt’s “The Outrun.” Griffin is particularly looking forward to discussions with Gaspar Noé and Alex Garland, noting, “These are unique opportunities you don’t encounter every day.”
Griffin also values Edinburgh’s accessibility for first-time filmmakers and established directors alike, emphasizing the festival’s welcoming nature. Reece Cargan of Randan Film and Television Productions shares this view, reflecting on his experiences and recent collaboration on Polly Findlay’s “Midwinter Break.” Cargan finds the case study of “Scrapper” particularly valuable for emerging producers, offering insights into funding and working with the BBC and BFI.
Cargan and Murray both hope that EIFF will reintroduce talent labs and development programs in the future. The absence of such programs has led many to seek opportunities at the Glasgow Film Festival, which has grown and strengthened its industry offerings.
“My filmmaking friends from London chose to come to Glasgow this year because it’s a great event with pitching sessions and networking,” Murray said. “We need more of these events across Scotland to foster talent development and make the region a hub for emerging filmmakers.”