Iconic movies celebrating key milestones this year are returning to Vue venues in Edinburgh for a limited run – including Steven Spielberg classic Jaws.
Just when you thought it was finally safe to go back in the water, the pioneering film is swimming back onto the big screen to mark its 50th anniversary.
Steven Spielberg’s classic tells the gripping story of a town plagued with a giant shark and is often credited as the original summer blockbuster release.
For a more light-hearted action caper, the iconic reboot of Charlie’s Angels blasts back onto the big screen for its 25th anniversary. Starring Cameron Diaz, Drew Barrymore and Lucy Liu as three female detectives, this reboot of the popular TV show of the same name is packed with high-octane action and explosive energy. Charlie’s Angels returns to Vue on 19 September.
A host of family favourites will also return to Vue this year to mark key milestones, including the 20th anniversary of Harry Potter & The Goblet of Fire, the 30th anniversaries of Jumanji and Casper, and the 60th anniversary of The Sound of Music.
Ian Chester, General Manager of Vue Edinburgh Ocean, said: “We love showcasing the very best of the big screen entertainment, whether that’s a brand-new blockbuster or a timeless classic.
“2025 marks major milestones for a selection of great films and we’re thrilled to bring these much-loved titles back to Vue for fans to enjoy all over again – and for a new generation to discover for the first time.”
Tickets start from just £7.99 when booked online. To find out more, visit myvue.com
Back on the Big Screen at Vue
Jaws (50th Anniversary) – From now
Harry Potter & The Goblet of Fire (20th Anniversary) – From now
Jumanji (30th Anniversary) – 5 September
Charlie’s Angels (25th Anniversary) – 19 September
The Sound of Music (60th Anniversary) – 19 September
With 194 screenings, 34 Industry and panel events, the Festival welcomed over 300 filmmakers, producers and distributors to present their films
A total in person attendance over 16500
Edinburgh International Film Festival (EIFF) 2025 draws to a close following a seven-day programme of sold-out premieres, illuminating talks, retrospectives and well-received industry events which continues to build on last year’s successful Festival reboot.
The Festival ran from 14 – 20 August with 43 new feature films, 18 of which were World Premieres including 10 World Premieres competing for TheSean Connery Prize for Feature Filmmaking Excellence, this year won by Abdolreza Kahani’s Mortican, and 6 short film programmes including The Thelma Schoonmaker Prize for Short Filmmaking Excellence competition, this year won by Joanna Vymeris’s Mother Goose.
The Festival presented special retrospectives including Sacred Bonds, the 6 original James Bond films starring Sean Connery, introduced by members of the Connery family and special guests, and Budd Boetticher’s The Ranown Cycle presented in partnership with Edinburgh Film Guild, alongside 6 special retrospective screenings with introductions from special guests including Andrea Arnold, Kevin Macdonald, Nia DaCosta and David Hayman.
In Conversation events with major film talent took place, with legendary film editor Thelma Schoonmaker discussing Michael Powell, Ken Loach, Paul Laverty and Rebecca O’Brien, Jeremy Thomas and Mark Cousins, Eva Victor and Adele Romanski, Nia DaCosta, Ben Wheatley and Andy Starke, Andrea Arnold, and Kevin Macdonald and Andrew Macdonald, in partnership with BAFTA Scotland. Hosts included Director of BFI Filmmaking Fund Mia Bays, Variety Film Critic Guy Lodge, Director of Edinburgh TV Festival Rowan Woods, Edinburgh Comedy Award Winning Comedian, Actor & Writer Rose Matafeo, 90 Minutes or Less Podcaster Sam Clements and We Are Parable Co-Founder and Creative Director Anthony Andrews.
The Festival kicked off on 14 August with the UK Premiere of Eva Victor’s acclaimed breakout hit Sorry, Baby and presented a selection of compelling new and established voices in cinema including 39 World Premieres and 48 UK Premieres across features and shorts.
The Festival platformed new talent in Scotland with World Premieres of new shortform work from the inaugural NFTS Sean Connery Talent Lab and new Bridging the Gap documentary shorts in partnership with the Scottish Documentary Institute.
Closing the Festival was the World Premiere of Paul Sng’s brilliantly inventive Irvine Welsh documentary Reality Is Not Enough, rounding off a programme with a strong presence for Scotland-based filmmakers and Scottish talent.
The Festival programme showcased new work from filmmakers from 36 countries including Scotland, UK, US, Ireland, Canada, Spain, Greece, Denmark, Croatia, France, Turkey, Australia, Brazil, Japan, Iran, Argentina, South Africa and beyond.
EIFF also continued to thrill audiences with its Midnight Madness strand beginning with the World Premiere of Ben Wheatley’s visionary Bulk and ending with Macon Blair’s new take on The Toxic Avenger.
The Festival worked with venue partners including the newly reopened Filmhouse alongside Cameo Cinema, Vue Omni, Monkey Barrel Comedy and a new pop-up cinema at the National Galleries of Scotland’s Hawthornden Theatre in partnership with Assembly Festival, once again placing EIFF at the heart of the Fringe and August’s unparalleled Festival landscape.
Tollcross Central Hall served as the Festival Hub, open throughout the Festival to industry and press delegates for industry panels and networking events, alongside informal meeting and working spaces.
With 194 screenings and 34 Industry and panel events, the Festival saw a total in person admissions at public events of over 16,500. All of which added up to the seven-day celebration of world-class new cinema championing a new generation of UK and international talent and seeing audiences, press and industry engage with the best of Edinburgh’s other arts and cultural Festivals.
The Industry Programme ran across the whole of the Festival and was very well received by attending guests with praise for EIFF championing both the spirit of independent cinema globally and locally and cross-arts conversations. Press and industry delegates experienced a wealth of programming including talks and panels discussing disability inclusion and access within film projects with CODE, OSKA Bright and BFI; a case study on Development to Distribution of The Outrun with BBC Film, StudioCanal, Brock Media,Protagonist and Edinburgh International Book Festival; Crafting Fear Through Games and Film with Screen Burn Interactive and Nia DaCosta; an overview of the animation sector in Scotland with Animation Scotland and Animated Women UK; a Screenwriting in Scotland discussion event in association with Writers Guild of Great Britain with Andrea Gibb, Paul Laverty, Paul Sng and Kelly Macdonald; a panel on How Female Creators Are Using TikTok to Break Into the Exclusive World of Film.
A Scottish/Irish Co-Production Opportunities event was hosted with Enterprise Ireland, Filming in Limerick and Screen Scotland, and Screen Scotland delivered an informative session on the new Talent Builder development project.
Other Networking Brunches and Networking Drinks were delivered in partnership with WFTV, Production Guild of Great Britain, Screen Fringe, BBC Film, Screen Academy Scotland, Animation Scotland, Animated Women UK and Writers Guild of Great Britain.
As part of a new partnership with production company Unified led by BAFTA winning producer Amy Jackson (The Nest, Aftersun) and BAFTA winning producer Lauren Dark (TheFather, Enys Men), the Festival hosted industry talks from Interim Head of Creative at Film4 Farhana Bhula; Oscar-nominated producer David Hinojosa (Past Lives, The Brutalist, EIFF 2025 title After This Death); Oscar-winning producer Adele Romanski (Moonlight, Aftersun); Director of BBC Film Eva Yates; A24’s Rose Garnett, former Director of BBC Film and Film4; Oscar-nominated producer Finola Dwyer (An Education, Brooklyn), BFI Director of Video Games and Certification Anna Mansi and Executive Director of Screen Scotland Isabel Davis.
Every screening and event at the Festival was introduced by a member of the EIFF team, and BSL interpretation was offered at 33 screenings that were presented with HOH Descriptive Subtitles. Audio Description was provided where possible and live captioning was provided at In Conversation events and panels.
The Festival welcomed over 300 filmmakers, producers and distributors to present their films, over 250 industry delegates including buyers, sales agents, commissioners and festival programmers including Eugene Hernandez, Head of Sundance Film Festival & Public Programming, and Jacqueline Lyanga, Co-Director of Film Programming at Berlinale, and over 170 press delegates.
Filmmakers and actors attending the Festival included Thelma Schoonmaker, Ken Loach, Renée Zellweger, Andrea Arnold, Jeremy Thomas, Kevin Macdonald, Andrew Macdonald, Nia DaCosta, David Hayman, Kate Dickie, Paul Laverty, Rebecca O’Brien, Kelly Macdonald, Eva Victor, Ben Wheatley, Eddie Marsan, Burn Gorman, Rose Matafeo, Jane Horrocks, Golda Roshuevel, Paul Andrew Williams, Brenda Blethyn, John McPhail, Andrew Kötting, Simon Rumley, Stacy Martin, Sam Riley, Alexandra Maria Lara, Noah Taylor, Gerard Johnson, Polly Maberly, Julie Pacino, Nadia Fall, Reed Birney, Constantine Costi, Barry Ward, Lorne MacFadyen, Steve Oram, Steven Saltzman, Douglas Mackinnon, Abdolreza Kahani, Gola and many more.
EIFF Director, Paul Ridd has said: “We are extremely proud of all the exceptional films we launched, as well as all the filmmakers, cinematic legends and audiences we welcomed to Edinburgh this past week.
“Our competitions continue to thrive, with buzzy titles provoking, entertaining and moving audiences, and our wider programme of features, shorts, events and talks signal our place in a global film culture that is alive and exciting.
“Putting it all together has been the collaborative work of many organisations, teams and individuals, and we owe them all an immense debt of gratitude. We cannot wait for EIFF 2026.”
Isabel Davis, Executive Director, Screen Scotland has said: “Filmmakers, audiences, and industry have been brought together thanks to a very strong proposition from Paul and the team at EIFF: the world premiere feature and short competitions, extraordinary insight from some of the most exciting filmmakers working today, and opportunities to network across the festival including with the Fringe being some of the highlights.
“With Cameo, the newly re-opened Filmhouse, Vue and the National Gallery all screening films and with Tollcross Central Hall now the recognized industry place to be and events venue, the festival has taken another confident step forward.”
EIFF 2025 is supported by Screen Scotland and the BFI Audience Projects Fund, awarding National Lottery funding, EventScotland part of VisitScotland’s Events Directorate, and the industry programme is backed by EXPO funding from the Scottish Government through Creative Scotland.
Edinburgh International Film Festival ran from Thursday 14 to Wednesday 20 August 2025.
Helmed by Festival Director Paul Ridd and Festival Producer Emma Boa, the EIFF team aims to create a world-class showcase for independent film and filmmaking talent.
Former Acquisitions Executive Ridd is supported by EIFF Board, including Chair Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting; Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; and Vice Chair Amy Jackson, producer of award-winning indie, Aftersun; Teresa Moneo, Former Director of UK Film, Netflix; Isla Macgillivray, Partner at Saffrey; and Romana Ramzan, Producer at Screen Burn Interactive.
Edinburgh International Film Festival announces winners of this year’s Sean Connery Prize for Feature Filmmaking Excellence and The Thelma Schoonmaker Prize for Short Filmmaking Excellence Competition
The winner of the Sean Connery Prize for Feature Filmmaking Excellence isAbdolreza Kahani’s Mortician
Edinburgh International Film Festival (EIFF) has announced the winners of its prize for feature filmmaking and its prize for short filmmaking.
The awards were presented at a special ceremony at Cameo Cinema in Edinburgh by Jason Connery on behalf of The Connery Foundation and by legendary film editor Thelma Schoonmaker.
The winner of this year’s The Sean Connery Prize for Feature Filmmaking Excellence, decided on by an audience vote and funded by The Connery Foundation is Abdolreza Kahani’sMortician. Ten feature-length World Premieres were presented at EIFF as part of the competition with the winning filmmaker being awarded £50,000 to support their future projects.
In Mortician, a reclusive mortician faces an unusual request from a dissident singer in hiding, their bond providing the beating heart of this disarmingly elegant film. Combining a distinctive, lo-fi visual style, naturalistic performances and familiar wit and humanity, Director Abdolreza Kahani’s film is both utterly distinctive and affecting.
Mortician sees director Abdolreza Kahani return to EIFF following his film A Shrine screening as part of last year’s Festival. Mortician is presented as part of Spotlight Canada 2025, supported by The High Commission of Canada and The Beaverbrook Canadian Foundation.
The other films in competition films were:
Blue Film (Dir. Elliot Tuttle)
Powered by extraordinary performances, a tight script and an elegant visual style, this unusual thriller makes for a shocking and highly compelling cinematic experience.
Concessions (Dir. Mas Bouzidi)
Propelled by a witty and weirdly lyrical script, great performances and some unexpected cameos, this is a fresh, funny and robust ode to cinema in a time of uncertainty over its future.
In Transit (Dir. Jaclyn Bethany)
An elegant, subtle drama with a chilly edge, this is a restrained and emotionally intelligent exploration of selfish desires, hidden motivations and what it really takes to know yourself.
Low Rider (Dir. Campbell X)
Powered by finely drawn characters and a freewheeling narrative, this is a vivid and visually striking queer road movie that has a strong message of self-empowerment at its core
Best Boy (Dir. Jesse Noah Klein)
A bold, original and blackly comic satire that fearlessly skewers social constructs, the nuclear family and toxic masculinity.
Novak (Dir. Harry Lagoussis)
An offbeat, intriguing exploration of idol worship, consumerism and non-conformity in the modern world, this is dark, unpredictable and humorous in equal measure.
On The Sea (Dir. Helen Walsh)
The humdrum contentment and daily routine of a married mussel farmer are thrown into chaos by the arrival of a mysterious stranger in novellist and filmmaker Helen Walsh’s beautiful, erotic love story set on the Welsh coast.
Once You Shall Be One Of Those Who Lived Long Ago (Dirs. Alexander Rynéus and Per Bifrost)
An affecting, gorgeously crafted documentary about the remaining people in Malmberget in north Sweden, a small town slowly collapsing into the mines beneath it.
Two Neighbors (Dir. Ondine Viñao)
A wealthy socialite (Cherry) and a struggling writer (Chalotra) are thrown together at a debauched party in this remarkable satire of greed and excess with a supernatural twist in the tale.
The winner of The Thelma Schoonmaker Prize for Short Filmmaking Excellence Competition is Joanna Vymeris’s Mother Goose. The short film competition winner was also decided on by an audience vote and is awarded £15,000 to support their future projects.
After the death of her husband, Janet decides to distract herself by rearing a goose, which is to be the centrepiece of her Christmas dinner. However, as she grows ever more isolated from her daughter, Janet’s need to nurture the goose becomes an obsession: one which will cost her dearly. A modern day Grimm’s fairy-tale about grief, isolation and a goose.
Forced into homelessness after her release from prison, Chrissie searches for love in the margins of society.
Stray (Dir. Morven Christie)
From nightclub to wilderness, a young girl seeks shelter from a world that feels hostile.
Blondi (Dir. Jack Salvadori)
Can a dog still be man’s best friend if that man is the Führer?
The Golden Squacco Heron (Dir. Edward Smyth)
Two childhood friends search for the fabled golden Squacco Heron.
Fowl Play (Dir. Anabelle LeMieux)
A mother’s quest for a Thanksgiving turkey spirals into chaos.
Backstroke (Sırtüstü) (Dir. Asya Günen)
Burdened by pressure and isolation, a young swimmer finds freedom by reclaiming the water for herself.
She Said So (Dir. Madeline Clayton)
A persuasive teenage girl orchestrates a sleepover that tests her best friend’s sexual boundaries.
Jodie (Dir. Seb Tabe)
Jodie faces a moral dilemma as she contends with the harmful male influences in her life.
Your body in my room (Tu cuerpo en mi habitación) (Dir. Axel Cheb Terrab)
Knowing they will never see each other again, two former lovers are acutely aware of the passing of time.
EIFF Director, Paul Ridd has said: “As the 2025 Edinburgh International Film Festival draws to a close I am once again moved and humbled by the hard work and astonishing effort that everyone has put into making this Festival stimulating, entertaining and fun.
“I am so grateful to all the organisations, teams and individuals who put their hearts and souls into this. These past seven days are testament to our collective belief in the power of film to provoke, to stimulate and to inspire empathy.
“Our two competition winners showcase outstanding work from their respective filmmakers and teams, proving that with formal dexterity, humanity and grace, cinema is alive and kicking.
“I am hugely inspired by all the filmmakers in Competition and beyond as well as all our special guests, who have worked so brilliantly with us to platform their work on the big screen and have been so generous with their time with audiences and with industry who we know very well are hungry for something fresh and exciting. I cannot wait for 2026!”
EIFF 2025 is supported by Screen Scotland and the BFI Audience Projects Fund, awarding National Lottery funding, EventScotland part of VisitScotland’s Events Directorate, and the industry programme is backed by EXPO funding from the Scottish Government through Creative Scotland.
Edinburgh International Film Festival ran from Thursday 14 to Wednesday 20 August.
A wrenching and timely documentary composed of video calls with Palestinian photojournalist Fatma Hassona, who documented the horrors unfolding in Gaza before she was killed in an Israeli airstrike. A haunting and deeply personal account of war, journalism, and the human cost of conflict.
Sanatorium | UK Premiere
Director: Gar O’Rourke. Documentary Feature. Ireland, Ukraine, France. 2025. 1hr 31min.
Set in a crumbling Soviet-era health resort in war-torn Ukraine, this humane and quietly powerful documentary captures the surreal coexistence of everyday life and looming violence. A rare and intimate perspective on the psychological toll of war.
Sara Shahverdi, the first female councilwoman in an Iranian village, teaches girls to ride motorcycles and resist child marriage—until her activism is deemed suspicious. A timely and courageous portrait of resistance in the face of systemic patriarchy.
Case 137 (Dossier 137) | International Premiere
Director: Dominik Moll. Narrative Feature. France. 2025. 1hr 55min.
A gripping police thriller that delves into the aftermath of a civilian injury on the streets of Paris. As Internal Affairs investigates, they uncover a web of evasion and institutional cover-ups. A razor-sharp reflection of today’s global reckoning with police brutality and systemic injustice.
Brides | European Premiere
Director: Nadia Fall. Narrative Feature. United Kingdom. 2025. 1hr 33min.
Two disillusioned teenage girls from the UK embark on a dangerous journey to the Syrian border. A bold and emotionally charged exploration of radicalisation, girlhood, and the search for belonging in a fractured world.
About A Hero | UK Premiere
Director: Piotr Winiewicz. Documentary Feature. Denmark, Germany, United States. 2024. 1hr 25min.
An AI-generated version of Werner Herzog narrates a deepfake crime mystery in this eerie and provocative documentary. A surreal and satirical look at the rise of artificial intelligence, misinformation, and the blurring of truth in the digital age.
Anime fans are in for a treat this summer as a trio of visually stunning films head to the big screen ahead of tickets going on sale for the most anticipated anime movie of the year, Demon Slayer – The Movie: Infinity Castle.
Landing on 12 September, the eagerly awaited sequel sees demon slayer trio Tanjiro, Zenitsu and Inosuke return to face their most harrowing trials yet, in a film that blends heart-pounding action, emotional intensity, and breathtaking animation.
For fans that can’t wait until September for their anime fix, Vue Edinburgh Omni is showing two titles from visionary director Mamoru Hosoda: Summer Wars and Wolf Children. Both films have been newly remastered in 4K, offering both longtime fans and new viewers the chance to witness these classics as never seen before.
Arriving on 3 August, Summer Wars tells the story of a shy math genius who unwittingly unleashes a rogue AI threatening the world’s digital infrastructure.
As he races to fix the chaos, he’s drawn into the turbulent but loving world of his friend’s extended family. Hosoda’s dazzling animation, pulse pounding virtual sequences, and timely message about connection and technology make this re-release a must see on the big screen.
Returning on 17 August is the emotional tale of love, loss, and growing up, Wolf Children. It follows the journey of a young woman raising two children who are half–human, half–wolf. Spanning over a decade, the story captures the challenges of motherhood, identity, and acceptance.
The remastered edition enhances every frame of Hosoda’s heartfelt masterpiece, bringing new depth to its themes and visuals.
Meanwhile, the highly anticipated Colorful Stage! The Movie: A Miku Who Can’t Sing will hit screens on 31 August. In this bold new chapter of the Hatsune Miku phenomenon, fans are introduced to a version of the iconic virtual idol who has lost her ability to sing.
Set in a world where music shapes reality, Miku must rediscover her voice through friendship, creativity, and emotional resilience. Blending vibrant musical performances with a moving narrative, this is an unforgettable cinematic experience for both longtime Miku fans and newcomers alike.
Robert Smith, General Manager at Vue Edinburgh Omni, said: “The anime fandom continues to grow here in the UK, and we’re proud to be part of that community.
Studios put their heart into every frame – from the breathtaking animation to the thoughtful scripts, musical scores, and emotional depth – and we recognise that watching anime isn’t just about the visuals on screen; it’s about the atmosphere, the sound, and the feeling of being completely immersed in a story.
“That’s why we’re so excited to be screening these films as they were meant to be seen – on the big screen.”
Edinburgh International Film Festival (EIFF) is pleased to welcome legendary British filmmaker Ken Loach and his longtime creative collaborators, writer Paul Laverty and producer Rebecca O’Brien, for a special In Conversation event at this year’s Festival.
The trio will discuss the acclaimed films they have created together over the years including Palme D’Or Winners The Wind That Shakes The Barley (2006) and I, Daniel Blake (2016). The event takes place on Wednesday 20 August at 11am at Tollcross Central Hall.
This event will then be followed by a special retrospective screening of the filmmakers’ 2006 Palme D’Or winning film The Wind That Shakes The Barley. Starring Cillian Murphy, the film is a heartfelt and stirring epic exploring the rift that emerges between two brothers who find themselves fighting against one another in the conflict over Irish independence in the early 1920s.
Presented from a 35mm print, this screening will be preceded by a special introduction by the filmmakers. The event takes place on Wednesday 20 August at 1.30pm in Filmhouse Screen 1.
Tickets are now on sale for both events via the EIFF website.
EIFF’s In Conversation strand also features a range of other major filmmaking talent who will discuss their creative careers to date including director Kevin Macdonald (The Last King of Scotland, Touching the Void, One to One: John & Yoko) speaking with his brother, producerAndrew Macdonald (Trainspotting, Civil War, 28 Years Later), in a wide ranging conversation about filmmaking and their respective careers. Kevin will also present a screening of The Cranes are Flying (1957), a film which has heavily influenced his work.
Trailblazing filmmaker Nia Da Costa will discuss her acclaimed work which spans independent film, horror sequels and major studio comic book adaptations including The Marvels, Candyman and upcoming film 28 Years Later: The Bone Temple. Nia will also present a special 4K restoration of Doug Liman’s 90s black comedy Go, a film that was a source of early inspiration for her.
From breakout horror thriller Kill List to EIFF Midnight Madness Opening Film Bulk, via hilarious black comedy Sightseers and many more, filmmaker Ben Wheatley and long time producing partner Andy Starke will discuss their collaborations and their working dynamic.
Award-winning writer and director Andrea Arnold is one of the UK’s most outstanding filmmakers. She will discuss her searing debut feature Red Road (2006), also screening at EIFF this year, which won the BAFTA Award for Outstanding Debut, along with her critically acclaimed work such as Fish Tank, American Honey, Cow and, most recently, Bird.
Legendary producer Jeremy Thomas (Eureka, 13 Assassins, Sexy Beast) will discuss his long and varied career, which includes collaborations with Nicolas Roeg, Takeshi Miike and Jonathan Glazer, in a conversation with filmmaker Mark Cousins (A Sudden Glimpse to Deeper Things, The Story of Film, The Storms of Jeremy Thomas). Jeremy Thomas will also introduce a special 35mm screening of Nicolas Roeg’s Bad Timing (1980), one of his earliest films.
Edinburgh International Film Festival will run from 14-20 August 2025. Building on EIFF’s reinvigorated vision under new leadership from CEO and Festival Director Paul Ridd and Festival Producer Emma Boa, the Festival will continue to accelerate the discovery of new film talent and engage with audiences, industry members and local, national and international media.
The Festival team aims to create a world-class showcase for independent film and filmmaking talent. Ridd is supported by the EIFF Board, led by Chair Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting; and Vice Chair Amy Jackson, producer of BAFTA award-winning indie, Aftersun; as well as Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; Teresa Moneo, Former Director of UK Film, Netflix; Isla Macgillivray, Partner at Saffrey; and Romana Ramzan, Producer at No Code Studio.
Paul Ridd, CEO & Festival Director, said: “It is a great honour for us to welcome Ken Loach, Paul Laverty and Rebecca O’Brien for what promises to be a lively and fascinating discussion of their work together, with two Palme D’Ors to their names and a body of work that includes ferociously powerful films produced across decades.
“We are also delighted to be presenting one of their major films THE WIND THAT SHAKES THE BARLEY from a 35mm print. It is a genuine thrill to be able to add this formidable trio to a roster of speakers at EIFF in a programme of In Conversation events which already includes Jeremy Thomas, Nia Da Costa, Andrew and Kevin Macdonald, Andrea Arnold and Ben Wheatley.”
Brits take a nostalgic look back to the 80s on Live Aid’s 40th anniversary
Survey reveals Brits’ most-loved 1980s songs, shows and memories.
Research also reveals average ticket prices for concert-goers have increased by over 500%.
Simple pleasures like ‘being able to call the doctor directly’ and ‘life without social media’ are much-missed.
Research* conducted by Ambassador Cruise Line has stepped back in time encouraging Brits to reflect on their favourite cultural moments from the 80s and reveal what they miss most about the era.
To mark the 40th anniversary of Live Aid on 13 July 2025, the affordable quality cruise line – which is staging a six-night Summer of ‘85 Revisited tribute cruise departing Bristol on Sunday# – asked the nation to share their thoughts on the music, TV and memories that defined a generation*.
From Wham! to Woolworths, caravan holidays to cassette tapes, the results paint a vivid picture of a decade that continues to resonate deeply with the Great British public.
From the silver screen to the radio waves, the 1980s delivered an explosion of creativity that people still just can’t get enough of. When asked to name their favourite entertainment from the era, responses from Brits read like a ‘who’s who?’ of zeitgeist-defining pop culture.
Going for a Song
13 July 2025 is set to mimic 13 July 2025 with blue skies and soaring temperatures, but when it comes to the nation’s most beloved 80s track by a British or Irish artist, it’s Christmas all year round with Wham!’s ‘Last Christmas’ named the UK’s favourite song according to the research.
There was a four-way tie for second place in the 80s Top 10, with ‘In The Air Tonight’ by Phil Collins – famed for playing both the Wembley and Philadelphia Live Aid shows – followed by Queen’s ‘A Kind of Magic’, taken from the Album of the same name after a Live Aid-driven ‘renaissance’; Bonnie Tyler’s ‘Total Eclipse of the Heart’ (originally written for Meat Loaf); and Chris de Burgh’s ‘Lady in Red’ taking up the remaining spots.
The Nation’s Favourite 80s Songs
1
Wham!
Last Christmas
1984
2
Phil Collins
In the Air Tonight
1981
3
Queen
A Kind of Magic
1986
4
Bonnie Tyler
Total Eclipse of the Heart
1983
5
Chris Be Burgh
Lady in Red
1986
6
Band Aid
Do They Know It’s Christmas
1984
7
George Michael
Careless Whisper
1984
8
Pet Shop Boys
West End Girls
1986
9
Dexys Midnight Runners
Come on Eileen
1982
10
Queen & David Bowie
Under Pressure
1981
TV Gold
On the small screen, the antics of everyone’s favourite wheeler dealers in Only Fools and Horses reigned supreme, with long-running perennial staples like Doctor Who and EastEnders following closely behind.
Gender preferences revealed that men leaned toward action and bawdy comedies like The A-Team and Blackadder, while women preferred dramas and music-based shows like EastEnders and Top of the Pops.
The Nation’s Favourite TV Show of the 80s
1
Only Fools and Horses
1981-2003
2
Doctor Who
1963-1989; 2005-present
3
EastEnders
1985-present
4
Blackadder
1983-1989
5
The A-Team
1983-1987
6
Top of the Pops
1964-2006
7
Dad’s Army
1968-1977
8
The Young Ones
1982-1984
9
Grange Hill
1978-2008
10
The Two Ronnies
1971–1987
Firm Film Favourites
The survey found that the magic of 80s movies hasn’t faded one bit over the last 40 years. Brits are still having the time of their lives with Dirty Dancing (1987), dubbing it their favourite film of the decade – with a notable 18% of women giving it top billing.
Action-packed blockbusters and feel-good favourites also made a strong showing, with Top Gun, The Karate Kid, E.T., Back to the Future and Die Hard proving that the 80s were a golden age for unforgettable storytelling, iconic characters and endlessly quotable lines.
The Nation’s Favourite 80s Movies
1
Dirty Dancing
1987
2
The Karate Kid
1984
3
Top Gun
1986
4
Back to the Future
1985
5
E.T. the Extra-Terrestrial
1982
6
Die Hard
1988
7
Ghostbusters
1984
8
The Terminator
1984
9
The Goonies
1985
10
Beetlejuice
1988
Live Aid Memories: Who Wants to Live Forever?
With Live Aid celebrating its 40th anniversary, the survey asked the British public which moment from the day that ‘rock and roll changed the world’ they’d most like to experience again. The most common responses included ‘Status Quo opening it with ‘Rockin’ All Over The World’; ‘Phil Collins on Concorde’; Paul McCartney performing ‘Let it Be’; David Bowie singing ‘Heroes’; and last, but not least, ‘Bob Geldof’s sweary rant’.
However, it will come as a surprise to absolutely nobody that Queen’s ‘electrifying’ performance ‘which showed other bands how to play to a live crowd’ topped the poll by a considerable margin. ‘Freddie had the audience in the palm of his hand’ just about sums up the responses, making it clear there’s one band (and more specifically, one moustachioed maestro often cited as the greatest frontman to have ever lived) that people just can’t break free from…
Top Ten Live Aid Moments – Quotes
1
One of the best live displays ever – the Queen performance and Freddie Mercury having 100,000 people in the palm of his hand. Awesome!
2
Status Quo opening it with Rockin’ All Over the World
3
Bob Geldof’s sweary rant
4
The sense of togetherness for my family and friends
5
When Phil Collins performed in the UK then flew to the USA and performed there
6
The enjoyment of all the bands coming together for the good of others
7
Paul McCartney singing Let It Be
8
U2 – Bono was brilliant!
9
David Bowie’s magnificent set and his emotional rendition of ‘Heroes’ – simply amazing
10
The incredible amount of money raised for a good cause
Counting the Cost of Legends Live
With many Live Aid performers still touring today, Ambassador compared their ticket prices from the 1980s to the 2020s, and the results are staggering.
The comparison shows just how far the music industry has come – and how the era-defining acts of the 80s are still as relevant and popular today as they were 40 years ago, even if a ticket to see them play live has soared in price!
1980s Ticket Prices:
Queen (1986 – Wembley) – £25
U2 (1987 – Joshua Tree Tour) – £15
Genesis (1986 – Invisible Touch Tour) – £15-£20
Madonna (1987 – Who’s That Girl Tour) – £15
Paul McCartney (1989/90 – The Paul McCartney World Tour) – £20
Phil Collins (1985 – No Jacket Required Tour) – £15
Dire Straits (1985 – Brothers in Arms Tour) – £16
Duran Duran (1984 – Sing Blue Silver Tour) – £12
The Rolling Stones (1982 – Tattoo You Tour) – £18
Simple Minds (1985 – Once Upon A Time Tour) – £12
2020s Ticket Prices:
Queen + Adam Lambert (2023 – The Rhapsody Tour) – £100+ – 300% increase
U2 (2023 – The Sphere Tour) – £120 – 700% increase
Genesis (2022 – The Last Domino? Tour) – £80+ 355% increase
Madonna (2023 – Celebration Tour) – £150+ – 900% increase
Paul McCartney (2024 – Got Back Tour) – £110 – 450% increase
Phil Collins (2023 – Not Dead Yet Tour) – £85+ – 467% increase
Dire Straits (2023 – Mark Knopfler Tour) – £100 – 525% increase
Duran Duran (2023 – Future Past Tour) – £75 – 525% increase
The Rolling Stones (2022 – No Filter Tour) – £130 – 622% increase
Simple Minds (2022 – 40 years Of Hits) – £70 – 483% increase
(Prices based on average tickets with two time periods compared to find mean percentage increases)
Get Back! (to where we once belonged…)
Last, but by no means least, when asked what aspects of 1980’s life they’d most like to bring back to today, Brits overwhelmingly longed for the simplicity and personal connections we enjoyed ‘back in the day’.
The most missed element of daily life was the ability to call the doctor directly to book an appointment, cited by 37% of respondents. This was closely followed by a desire to return to a time of greater respect for elders (34%) and life without the pressures of social media (33%). Nostalgia for the high street was also strong, with 29% wishing for the return of staples like Woolworths.
The survey also revealed a deep affection for holidays in the 1980s, which many respondents described as “simple,” “cheaper,” and “more family-focussed.”
Caravan parks, Butlins, and classic UK beach breaks were frequently mentioned, evoking memories of a slower pace and stronger sense of togetherness.
One respondent recalled “less faff in airports, less pressure to ‘go places’,” while another opined, “We loved caravan holidays. We actually spoke to each other.”.
A brand-new musical outing starring everyone’s favourite CBeebies characters is arriving at cinemas this summer.
Featuring a star-studded cast – including Justin Fletcher, Maddie Moate, and Andy Day – CBeebies Musical: The Great Ice Cream Hunt promises to add a sprinkling of joy to the holidays.
Showing in 300 cinemas nationwide, the film is arriving from July 11. The musical is an original piece that includes song performances that are exclusive to the cinema and the big screen. The hour-long special won’t be appearing on the small screens until later this year.
The musical tale follows Lolly the cow and Pinecone the hedgehog as they investigate the disappearance of ice cream across the land.
During their adventure, the pair befriend Storyland Rangers at Coconut Cove, learn magical moves at Mermaid Falls and help a stressed-out caterpillar find his voice at the Summer Fruits Festival. But when they finally catch up with their prime suspect – the rain-loving Professor Raindrop – things aren’t quite what they seem…
Eve Gabereau, Director of Distribution at Vue Lumiere, said: “After bringing two bumper collections of Bluey to cinemas up and down the country, we can’t wait to showcase this original musical treat from CBeebies to young fans.
“It’s a great continuation of our work with the BBC and their Children & Family content on the big screen.”
To mark the arrival of the highly anticipated relaunch of Superman, Vue is holding an extra special screening of the film – with those who book the slot taking home a very special piece of comic book history.
Taking place during the film’s opening weekend, on Friday 11 July, there will be just one Superman Hero Screening at Vue venues in Edinburgh and every booking for the limited screening will come with a copy of All Star Superman No.1 – the comic that inspired James Gunn’s new take on the Man of Steel – to pick up on the day.
Tickets for the screening are available to book now however the offer will only be available while stocks last.
The film introduces David Corenswet as Clark Kent (Pearl and Hollywood) and Rachel Brosnahan (The Marvelous Mrs. Maisel) asLois Lane, alongside a whole new roster of DC characters.
The latest superhero outing has fans excited for what is expected bold new take on the franchise – with Superman as you’ve never seen him before.
Robert Smith, General Manager at Vue Edinburgh Ocean, said: “We know how excited audiences are for James Gunn’s interpretation of Superman.
“This exclusive screening gives fans the rare opportunity to take home a special piece of cinematic history – the very comic issue that helped shape the film’s story.”
The All Star Superman No.1 giveaway is one comic per booking – not per ticket – and only applies to tickets purchased for the Superman Hero Screening on 11 July.
For the avoidance of doubt this does not apply to Superman screenings without the ‘Hero Screening’ tag.
From 27 June, Edinburgh’s landmark cinema Filmhouse will re-open its doors with a hand-picked programme of the very best films the cinema missed out on playing during the venue’s two-and-a-half-year closure.
The programme will have a strong emphasis on films that did not screen in the city because of its absence. Tickets are on sale now via the Filmhouse website.
Filmhouse has long been celebrated as a cultural cornerstone, showcasing world cinema in all its brilliance and diversity, from crowd-pleasing favourites and to avant-garde arthouse works, restored classics, and curated retrospectives.
The first film to welcome audiences back to the venue will be the much-loved film gem and ode to the beauty of the cinemagoing experience, Giuseppe Tornatore’s Cinema Paradiso (1988).
On opening weekend, audiences can also enjoy Martyn Robertson’s acclaimed new film Make It To Munich, an inspiring documentary which follows 18-year-old Ethan Walker, who just months after nearly losing his life in an accident, embarks on a 1200km cycle ride to Munich for Scotland’s Euros opening game against Germany.
Ethan himself will attend a special Q&A screening on Filmhouse’s opening day, alongside the film’s director Martyn Robertson and former Motherwell, Chelsea, Everton and Scotland winger Pat Nevin.
Edinburgh based filmmaker Matt Palmer will present a free double-bill of his gutsy thriller Calibre (2018) starring Jack Lowden and Tony Curran alongside his hit horror Fear Street: Prom Queen (2025) which debuted at No.1 on Netflix on its release earlier in the year and will have its first ever public cinema screening at Filmhouse. Matt will also take part in a Q&A after the screening.
Lotte Reiniger’s classic feature length paper cut animation The Adventures of Prince Achmed (1926)will screen in a special event soundtracked with live music by Edinburgh based musical improvisers and innovators S!nk in a transportive performance filled with swirling, spiralling strings, saxophones, accordion, percussion and voices.
Also screening at the cinema are a selection of recent acclaimed films from around the world from new and established filmmakers including Payal Kapadia’s soulful All We Imagine As Light, Sébastien Marnier’s thrilling Origin of Evil, Christian Petzold’s riveting Afire, Gints Zilbalodis’s enchanting animation Flow, Hlynur Pálmason’s nuanced drama Godland, Alice Rohrwacher’s radically adventurous film La Chimera, Maryam Moghadam & Behtash Sanaeeha’s joyous My Favourite Cake, Mario Martone’s brilliantly shot Nostalgia, Rodrigo Sorogoyen’s tense thriller The Beasts, Ilker Çatak’s uncompromising TheTeachers’ Lounge, Alexandre de La Patellière & Matthieu Delaporte energetic take on Count of Monte Cristo, Manuela Martelli’s compelling noir 1976, Víctor Erice’s mysterious Close Your Eyes, Robert Zemeckis’s Here and Celine Song’s acclaimed Past Lives.
70mm engagements at the cinema will include Brady Corbet’s award-winning The Brutalistand Christopher Nolan’s epic Oppenheimer alongsideRobert Egger’sNosferatuon 35mm.
More upcoming screenings will be announced via Filmhouse socials soon.
Alongside this, the cinema will also screen events such as National Theatre Live for the first time, with more details to be confirmed in the coming months. Details of Filmhouse’s involvement with this year’s Edinburgh International Film Festival are yet to be announced .
With, ultimately, a total capacity of 340 seats, Filmhouse is set to once again become a hub for film enthusiasts, offering a cutting-edge cinematic experience, a vibrant social space, and a platform for film lovers and filmmakers to engage with the very best in global cinema.
Previously a three-screen venue, the new Filmhouse will become a four-screen cinema and soon will be unveiling a fourth screen with a capacity of 24, allowing for an even more expansive programme, as well as being available for private screenings and hires.
Filmhouse’s technical capabilities include 70mm, 35mm, 16mm, 8mm, and digital projection. The cinema also includes a Clipster Unit for creating Digital Cinema Packages (DCPs) required for festival and theatrical distribution.
Comfort has been prioritised across the new Filmhouse. Film-lovers can expect extra legroom and comfortable seats across the cinema’s screens, alongside a completely reworked foyer space.
Built in a repurposed church on Edinburgh’s Lothian Road, Filmhouse has been a cinematic landmark since 1978. Following a £2 million refurbishment, Scotland’s leading independent cinema Filmhouse returns with new leadership, a vision which builds on the venue’s legacy as a space for learning and discovery, and a commitment to building a sustainable future for this iconic cultural landmark.
The completely refurbished Filmhouse Bar will be able to seat 100 people for lunch and dinner, with drinks available throughout the day, catering for the many communities who enjoyed the welcoming atmosphere, and placing an emphasis on produce from Edinburgh and Scotland, offering great food and drink alongside environmental sustainability. Filmhouse fans will be pleased to know that the cinema’s world-famous nachos are staying put too.
The cinema will announce new membership offers and multiple-tier ticket pricing over the next few weeks.
Following its closure in October 2022, the reopening of Filmhouse marks the culmination of a three-year long campaign to save the historic cinema backed by film lovers in Edinburgh, Scotland, and around the world and by A-list film talent including patrons Jack Lowden and Charlotte Wells, as well as Dougray Scott, Brian Cox, and Emma Thompson.
The stage is set, the screens are ready, and the story of Filmhouse continues.
Rod White, Programming Director of Filmhouse, said: “Looking into the films that simply didn’t make it on to Edinburgh cinema screens at all during Filmhouse’s closure only hammered home the need for it in this great City of Culture.
“It’s been tough – whilst Filmhouse was closed – to watch some brilliant films come and go from cinemas without being able to offer a venue to watch them in. The good news is, Filmhouse has never been a better place to watch a film (and talk about it afterward!) than it is today and we simply cannot wait to welcome everyone back, or, for the first time! ”
