Now that its disastrous collapse and speedy rebirth is a trauma slowly receding in the rear-view mirror, the Edinburgh international film festival can set its sights on bigger things. Apart from its traditional role providing a showcase for the best of current world cinema, the festival has an ace up its sleeve for 2026: the undeniable confidence and conspicuous achievement of its home film industry in Scotland. Just as Cannes likes to give a decent amount of houseroom to favoured French directors, and Sundance sees at least part of its job to talk up US independent cinema, Edinburgh acts as a vector for Scottish film-makers to gain valuable exposure and get their work in front of significant festival audiences. Inevitably, some years are harder than others, but Edinburgh’s 2026 edition feels stronger than it has been for years.
The festival’s opening gala slot, traditionally a local film, has been given to The Incomer, a surreal comedy starring Domhnall Gleeson and set Scotland’s far north, and which picked up a major award at the Sundance festival earlier this year. Among a clutch of strong films are Borges and Me, based on Jay Parini’s memoir of escorting author Jorge Luis Borges on a trip around the Highlands; and The Education of Jane Cumming, the extraordinary true life story of the 19th-century Edinburgh schoolkeeper who inspired The Children’s Hour. Scottish artist Douglas Gordon is the focus of a new documentary, Douglas Gordon by Douglas Gordon, while Scottish Ballet perform in These Violent Delights, a film rendering their dance version of Romeo and Juliet. Past glories are due to live again with a 30th anniversary screening of junkie classic Trainspotting (with the added bonus of a live club night featuring a DJ set from Irvine Welsh).
