Friday is industry day at GSFF, and this year it was to kick off with a gaggle of international festival programmers introducing themselves to emerging Scottish filmmakers. We’d planned micro-panels on valuing filmmakers’ labour and positionality in programming, whilst five selected filmmakers would be preparing to pitch their projects to an international panel, hoping to…

GSFF Thursday, 11am – traditionally the slot for our Short Stuff screening for parents and babies. A (mostly) soothing start to the first full day of the festival. Although a relaxed screening, it’s when the team is still very much on edge, waiting for guests to arrive and sorting out logistics. It’s the day we welcome students from…

Today isn’t what we imagined.  A week ago, we were still keeping our fingers crossed, hoping we’d be able to kick off GSFF20 as planned. But as the COVID-19 pandemic continues to escalate and our emotions over our postponement have settled (just a little bit), we try to continue GSFF from our own living rooms. …

“..alternately invisible and too prominent. So I walkcaught between memory and forgetting, betweenmemory and forgiveness.”Garnette Cadogan, Walking While Black The essay Walking While Black examines the conflicted idea of the public space.  adjective: public {communal, collective, shared, joint, universal}  But public for whom?  Cadogan’s descriptions of the experience of walking as a Black man could be described as an act of imposed…

Fifty-two years since the commencement of Northern Ireland’s Troubles, Barbed Wire Love presents intimate tales from those who stayed, those who left and those who passed through. Sisters and brothers, those who danced at raves, those who had good intentions and those who did not. Chance encounters, intimate first-person cinema and the unreliability of history and biography create space…

Ahead of her film The Houses We Were, screening as part of the Bill Douglas International Competition, GSFF spoke to award-winning filmmaker and photographer Arianna Lodeserto about her use of archival footage, gentrification and the effects of capitalism on urban environments.  A lot of your work tends to focus on urban environments.  What is it you find…

First Reels (1991–1999) was the first of the short film production schemes introduced by the Scottish Film Council (later Scottish Screen), in partnership with Scottish Television. It was launched with the aim of giving aspiring filmmakers the means to embark on – or complete – their first project. Whilst giving talents such as David Mackenzie…

GSFF speaks to actor, writer and director Martina Juncadella about her film I Don’t See Myself Being Old. Having previously won ‘Best Short Film’ at the 2017 Buenos Aires International Festival of Independent Cinema for her short Fiora, Juncadella’s newest film follows Jaki, a poet in her mid-twenties who lives with her parents and sells Knishes. This…

Actor and director Slava Doytcheva talks to Glasgow Short Film Festival about her latest film Whole, telling the story of a young, closeted woman who attends a traditional Bulgarian family wedding. Whole is a well-observed drama, placing the audience in the head of a protagonist experiencing one of the most formative moments of her life. What inspired you to…