You Don’t Know What You’ve Got Till It’s Gone: Filmhouse in Edinburgh

One of the theaters housed inside Filmhouse, a 3-screen art house complex in Edinburgh, Scotland that was recently closed (photo by Ian Grundy).

Friday, October 7, 2022 was a black day for film lovers in Edinburgh and for anyone who has ever visited Filmhouse, a fantastic three-screen movie venue that also hosted the annual Edinburgh International Film Festival for years. Without warning, the Centre for the Moving Image (CMI), a charity which receives annual grants for the operation, abruptly closed its doors and laid off more than 100 employees. The shutdown also includes the Belmont Filmhouse in Aberdeen and the annual Edinburgh International Film Festival (EIFF), which was launched in 1947. The financial difficulties that led to this decision are only part of the problem. The impact of COVID on moviegoing in recent years plus the proliferation of so many entertainment streaming choices for the family household has taken a toll on attendance at movie chains but especially independent venues like Filmhouse. In the U.S., we have already seen the closure of the Cinerama Dome and the 14-screen ArcLight Hollywood in Los Angeles, the Lincoln Plaza Cinemas and Landmark’s Sunshine Cinema in New York City and so many others are in danger of vanishing like Facets in Chicago. If you care about the communal experience of a big screen movie experience, then please support your favorite film venue or risk losing it. The Filmhouse was certainly a world renowned shrine to cinema and here are my own memories of the venue from over twelve years ago.

Continue reading

Destination: Ferness, Scotland

First of all, there is no Ferness, Scotland. It is a fictitious seaside town created by writer/director Bill Forsyth for his 1983 film, Local Hero. It is also a place that lives on in the hearts and minds of moviegoers who were bewitched by its picturesque beauty, eccentric but appealing residents and its tranquil setting far removed from urban blight and the madding crowd. To outsiders, it might look like a slice of heaven, an ideal place to live or revisit. But Forsyth’s film slyly juxtaposes this romanticized environment against the inevitability of progress and creates a gentle culture clash comedy that has far more resonance than you’d expect. It’s not sentimental or cynical but an intoxicating mixture of the wry and whimsical with a bittersweet finish.

Continue reading