Glasgow Film Festival announces A-grade line-up | Little White Lies

Festivals

Glas­gow Film Fes­ti­val announces A‑grade line-up

24 Jan 2024

Words by David Jenkins

Older woman speaking on stage, film festival poster visible behind her.
Older woman speaking on stage, film festival poster visible behind her.
A grand ban­quet of film has been laid out for the fes­ti­val’s 20th anniver­sary edition.

As the win­tery, back-to-work blues of Jan­u­ary final­ly begins to sub­side, we have news of a very bright near-future, as at the end of Feb­ru­ary the Glas­gow Film Fes­ti­val opens its doors once more for a spe­cial 20th anniver­sary jam­boree of cinephile frol­ics. And we can tell you from expe­ri­ence that it’s a city that’s per­fect­ly cal­i­brat­ed and designed for total immer­sion in that bliss­ful fes­ti­val vibe, and with their fresh­ly-mint­ed 2024 line-up all locked down and out in the world, we can’t wait to do it all over again.

Open­ing the fes­tiv­i­ties is Rose Glass’ vio­lent opus, Love Lies Bleed­ing, the filmmaker’s fol­low-up to Saint Maud that stars Kris­ten Stew­art and Katy M O’Brian, which comes direct­ly off the back of a tri­umphant pre­mière at the Sun­dance Film Fes­ti­val. Things will round off in a more home­ly fash­ion with the world pre­mière of Janey, a pro­file doc­u­men­tary about the Scot­tish come­di­an and activist Janey Godley.

The fes­ti­val is set to present 69 fea­tures culled from 37 coun­tries this year, and we’re look­ing for­ward to the Greek-set dra­ma, Drift, which stars Cyn­thia Eri­vo, Alia Shawkat and Hon­or Swin­ton Byrne (togeth­er at last!), as well as satire Coup! star­ring Peter Sars­gaard and Bil­ly Mag­nussen, and the 16mm French vam­pire film The Vordalak star­ring the great Ari­ane Labed. 

From the UK there’s Will Gilbey’s direc­to­r­i­al debut, Jeri­cho Ridge, a small-town polici­er about a sher­riff under siege. There’s also The Old Man and the Land by Nicholas Paris, about an old man attempt­ing to main­tain his farm­land despite the inter­rup­tions of his two adult kids (Rory Kin­n­ear and Emi­ly Beecham). 

On the back of the mas­sive BFI ret­ro­spec­tive of Pow­ell and Press­burg­er, there’s the chance to catch a new Mar­tin Scors­ese-nar­rat­ed doc, Made in Eng­land: The Films of Pow­ell and Press­burg­er, from direc­tor David Hin­ton. There’s also anoth­er ace-look­ing film­mak­ing doc in the form of Jack Archer’s Bill Dou­glas: My Best Friend, on the life and work of the poet­ic Scot­tish maverick. 

Of the things we’ve actu­al­ly seen, we can hearti­ly rec­om­mend try­ing to snag a tick­et for Alice Rohrwacher’s graver­ob­bing fan­ta­sia, La Chimera, in which a linen-suit­ed Josh O’Connor dash­es around Italy look­ing for signs of his lost love. We also love Bertrand Bonello’s eccen­tric, time-hop­ping AI romance, The Beast, and the fero­cious debut fea­ture Hoard by Luna Carmoon.

Else­where there’s a ton of amaz­ing ret­ro­spec­tive screen­ings tied to var­i­ous local anniver­saries (includ­ing 50 years since the inau­gu­ra­tion of fes­ti­val hub, the Glas­gow Film The­atre). There’s a focus on Czech cin­e­ma and UK pre­mieres of new 4K restora­tions of Scorsese’s After Hours, Dan­ny Boyle’s Shal­low Grave and Lynne Ramsay’s Ratcatcher.

Look, we we can’t namecheck every­thing because we’d be here all day, but you can peruse the line-up your­self via the fes­ti­val web­site and dig out some of the gems that we’ve missed. Oth­er than that, all that’s left to say is, roll on Feb­ru­ary 28

The 20th Glas­gow Film Fes­ti­val runs from 28 Feb­ru­ary to 10 March 2024. glas​gow​film​.org/home

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