The hybrid documentary animated feature A Cat Called Dom, which I edited, has won the Powell & Pressburger Award for Best Film at the 2022 Edinburgh International Film Festival.

Considering the competition, it was quite a surprise, and the positive reactions to the film have been really great to read and hear. 


This is what the jury had to say about the film:

“It’s better to miss Naples than to hit Margate” was Powell & Pressburger’s motto, suggesting the imagination, daring, risk taking and wit that marked their films. Their special collaboration was also grounded in deeply human stories and the belief that life can be magic.

For these reasons the jury are pleased to award The Powell & Pressburger Award for Best Feature to Will Anderson & Ainslie Henderson’s A Cat Called Dom."

Accepting the award, directors Anderson and Henderson said:

​“To screen our first feature at EIFF was an honor… but to take away the first Powell & Pressburger Award is just so special. A Cat Called Dom is a film about embracing failure… after EIFF it now feels much more like a success.”

Very pleased to announce that Time Trial, the David Millar cycling documentary I edited, will premiere in competition at IDFA in November. It'll screen in the Royal Theatre Carré on Sunday, November 19th to an audience of 1,500.

Following the screening there will be a talk/Q&A with director Finlay Pretsell and David Millar himself, which will also feature the great Jørgen Leth (who has written a poem specifically for the occasion.)

Check it out and keep yourself updated at the IDFA website or @TimeTrialFilm on Twitter.

The trailer for the film will come out in about a week, featuring first on the Global Cycling Network before going wider.



Rob Burnett made his first break interning for David Letterman in 1985. Working his way up to head writer of Late Show with David Letterman in 1992, he eventually became executive producer. After more than twenty years in television comedy and multiple Emmys, he's on his way to the same success in film, writing and directing the charming and funny Sundance closing-night hit - and now Netflix Original film - The Fundamentals of Caring.


Based on the novel by Johnathan Evison, The Fundamentals of Caring stars Paul Rudd as Ben, a father grieving his tragically lost son, who, in desperation, dives into caregiving for Trevor, played by Craig Roberts, a teenager with Duchenne Muscular Dystrophy.
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I sat down with Rob Burnett at the 70th Edinburgh International Film Festival, where the film had its European premiere, to ask him about working with Rudd and Roberts, making death and disability funny, and why he chose Netflix to distribute the film.




Read more at The 405 here

Bloody revenge becomes as difficult as spelling Aberystwyth in great Welsh-language thriller The Library Suicides

Hollywood tragedy Kevin Smith insults Canadians, critics and his own child with horror-comedy that is neither scary nor funny in Yoga Hosers 

Didn't think I'd see a film worse than Macbeth Unhinged at EIFF. So, congratulations to Kevin Smith, I guess. Quite the achievement.

Read more at The 405 here

Two films reviewed from the Best of British strand of EIFF 2016

A break-up shake-up comedy that makes you think about every bad relationship you ever had in Brakes

A Welshman, a Scotsman, and an Irish Manic Pixie Dream Girl take a trip to find the punchline to that joke, in the endearing but clumsy drama Moon Dogs

Read more here at The 405

Barmy Bard-baiting in Macbeth Unhinged | Tokyo Godfathers but with zombies in Seoul Station | It only takes a camera to crack her mind in The Model

Reviews from the second day of EIFF 2016

Read more at The 405 here

First daily report from the Edinburgh International Film Festival, with a review of the opening film Tommy's Honour. Not a great start.

Read more at The 405 here

Vaudeville was the nest that birthed cinema, as Edison and the Lumiere brothers moved from kinetoscopes to audience projections in vaudeville houses. In return, film and television would dethrone staged variety entertainment, turning Orpheum theatres into RKO cinemas, and push it from the dominant form of mass entertainment in the early 20th century into kitsch eccentricity. In this context, The Show of Shows acts as cinema’s mea culpa. The film is a discreetly structured montage of late 19th- to mid-20th century archived footage of vaudeville, fairground and circus performances, scored with original music from Sigur Ros and composer Hilmar Orn Hilmarrson. Introduced first to performers backstage during construction, preparation and rehearsal, we then join the audiences funnelling into the tents to watch an assembled variety show medley, arranged into innominate thematic sections. Tumbling, lion-taming, blind-boxing, burlesque striptease and other antiquated arts are brought back from the dead via the mass medium that helped kill them.

Read the whole review here at The Flaneur