By Leah Matthews, Third Year Classical Studies
Founded in 2005, Glasgow Film Festival has rapidly cemented its reputation as one of the most welcoming film festivals in the world. With around 40,000 attendees each year, the festival offers an outstanding selection of non-mainstream cinema, that often includes big names like Tilda Swinton and Ralph Fiennes, showcased across multiple venues in Glasgow, with its centrepiece being the historic Glasgow Film Theatre (GFT) on Rose Street. Like any esteemed film festival, Glasgow provides a diverse range of industry talks and events, catering both to established professionals and those hoping to break into the industry.
One particularly thoughtful scheduling choice is that most screenings begin after 3pm (excluding their ‘Morning Retrospective screenings), making it possible for workers to catch highly anticipated films after a day at the office. Ticket prices are fairly standard for a film festival, with adults paying £12 and students £9.60. However, given the importance of exposing young cinephiles to the independent film industry, I think an even lower student price would be a welcome gesture.
My festival experience began the moment I stepped off the bus and made my way to the red carpet, where none other than James McAvoy was making an appearance. He was in attendance for an 'In Conversation' event with TV presenter Edith Bowman, as well as to accept the 'Cinema City Honorary Award' in recognition of his contribution to cinema. McAvoy, a self-proclaimed "son of Glasgow," was as gracious with the press as he was with fans, his presence bringing a palpable sense of pride to the city. In the 1930s, Glasgow had the highest number of cinemas per capita outside the United States, hence the award’s title and Glasgow’s nickname: ‘Cinema City’.
Initially, I assumed that GFT would serve as the festival's central hub, but I was surprised to find that it lacked a vibrant social space. More of a classic cinema than a communal gathering spot, GFT didn’t quite provide the atmosphere of connectivity I expected. Edward House was suggested as another key location, housing festival enquiries, merchandise, and The Popcorn Archive project by Sean Wai Keung. This initiative, which allowed attendees to exchange festival memories for free popcorn, seemed promising. However, when I visited, the space felt empty and sterile, lacking the warmth and engagement I had envisioned.
Just as I was beginning to feel a disconnect from the festival’s community spirit, everything changed when I attended a screening of Harvest (2024), directed by Athina Tsangari and distributed by MUBI. The film, shot in Argyll, Scotland with a predominantly Scottish cast, was met with an electrifying response from both the audience and the talent in attendance. Many of the cast members were non-professional actors from Argyll, and their enthusiasm was infectious. The screening was followed by an intimate Q&A with Tsangari and her cast, and reinforced the festival's commitment to accessibility and community engagement. Tsangari declared that this screening was the most important one yet for the film, despite its prestigious Venice premiere. Whether this was genuine sentiment or a touch of Greek flattery, the audience lapped it up.
On the following day, I finally discovered what I would call the true nucleus of the festival: The Social Hub in Merchant City. This space had that warmth and communal energy I had been seeking. The Social Hub was home to the festival’s industry talks and networking events, providing free coffee in the mornings, an all-day café, Wi-Fi, and various desks and lounge areas. The programming here was truly impressive, featuring events such as 'A Lightning Guide to Story Structure' with John Yorke, live pitch sessions, book-to-screen discussions, and one-on-one meetings with established industry figures. Every year, this dynamic and creative space functions as a launchpad for young professionals eager to gain insights and build connections in the film world.
Beyond the festival itself, Glasgow remains an excellent host city. Though it may lack sunshine, it compensates with its rich architectural heritage, from the grandeur of the Glasgow City Chambers to the iconic Art Nouveau designs and murals of Charles Rennie Mackintosh. The city’s vibrancy, culture, and love for cinema make it an ideal location for a festival of this nature.
Among the festival’s standout films were Tsangari’s Harvest, Ruben Amar and Lola Bessis’ Silver Star, and Darren Thornton’s hilarious Four Mothers. However, not every film hit the mark. Olga Korotko’s Crickets, It's Your Turn failed to generate the same level of engagement, the narrative lacking the spark necessary to make a lasting impression.
Glasgow Film Festival excels at striking a balance between accessibility, industry relevance, and a genuine celebration of cinema. While its social spaces could be better integrated, the festival ultimately succeeds in creating moments of true cinematic magic—whether on the red carpet, in the warmth of a Q&A or ‘In Conversation’ session, or in the bustling creativity of The Social Hub. It is a festival not just for cinephiles but for filmmakers, creatives, and anyone who is curious about and believes in the power of storytelling. And in the end, isn’t that what cinema is all about?
Glasgow Film Festival typically takes place in February and March. So if you are ever in the area that time of year, check it out at www.glasgowfilmfest.org.
