The sun has set on this year's Edinburgh International Film Festival, meaning that it's time for a spot of reflection. In general, there was a lot to like about the 2015 programme, which featured plenty of interesting titles and a variety of well-received choices. One Scottish film was given a critical kicking across the board — clue: it rhymes with 'Mottish Scussel'* — but aside from that, there were very few duds.
In terms of highlights, there is little doubt that this year’s most popular film was Inside Out, the latest animated feature from Pixar. Revolving around a young girl named Riley (voiced by Kaitlyn Dias), it tells a lovely story that cuts between the real world and the inside of Riley’s mind, which is visualised as a control room of sorts. Referred to as “Headquarters”, this area is populated by five personified emotions — including Joy (Amy Poehler) and Sadness (Phyllis Smith) — who try to guide Riley through the perils of everyday life.
What follows is a joyous feast of creativity and wit. Accompanied by a beautiful score from Michael Giacchino, **Inside Out **is surprisingly moving at times — witness Joy skating as she watches an old memory of Riley doing the same — while the story is dotted with clever gags. At one point, for example, Joy says that Facts (which are represented as small blocks) are easy to confuse with Opinions (also represented as small blocks) because they look extremely similar. Moments like this are scattered throughout, helping to create a funny, heartwarming experience that might just be Pixar’s finest film to date.
Speaking of fine films, the second festival title worth highlighting is Andrew Haigh’s 45 Years, which is best described as a slow-burning, low-key relationship drama. Set in the Norfolk countryside, it follows Kate (Charlotte Rampling) and Geoff (Tom Courtenay), a childless couple who are about to celebrate their 45th wedding anniversary. As the party approaches, Geoff receives a letter about his long-dead ex-girlfriend — whom he dated before Kate — as it turns out that her body has finally been found. Kate is supportive at first, but after one or two upsetting revelations, she becomes consumed by feelings of resentment.
At this stage, it’s important to note that 45 Years isn’t the kind of film that involves shouty, melodramatic confrontations. Building towards a quietly devastating climax, it is a subtle, elegant, understated piece of work, which benefits from beautiful direction and two remarkable performances. Together, Rampling and Courtenay make for a compelling screen duo, offering a wholly convincing portrait of an ageing couple who have been together for a very long time. Rampling, in particular, has rarely been better, conveying an outwardly composed individual who is falling apart under the surface.
While we’re on the subject of composed individuals, it should be mentioned that this year also marked the arrival of new artistic director Mark Adams. Could his first EIFF have been better? Perhaps. But at the very least it was a solid, promising start to his tenure, and on the basis of the films mentioned above, next year’s Edinburgh International Film Festival can’t come soon enough.
*Written by Stephen Carty *
Scottish Mussel