Jacob Poole headed to the recent 2026 Beeston Film Festival. Check out what he thought of one of the region's best festivals.

As my friend and I walked in The Arc Cinema in Beeston, just outside Nottingham, to attend the Beeston Film Festival we were impressed by the sheer amount of people milling around.

With streaming sites taking over in recent years, the future of cinemas has never been in more jeopardy since the rise of the silver screen in the mid-20^th century. Sometimes, foyers can feel like empty, liminal spaces, with more staff than moviegoers.

But there’s genuine reasons to be hopeful. A resurgence is happening! Even The Pope expressed in November 2025, the cinema represents “a popular artform in the noblest sense, intended to and accessible for all”.

If there were any fears that cinemas are dying, Beeston’s The Arc proved to be an antidote for troubled times.

With its first edition in 2014, the festival used to be hosted at a pub with a simple dropdown screen. From these humble beginnings, founder John Currie stated that the number of submissions for the festival had increased ten-fold since their first year.

Now it is hosted at The Arc Beeston, which boasts 4K screens, surround sound, and leather reclining seats. As someone who lives relatively local, I’d previously seen Challengers (2024) and Gladiator 2 (2025) at the cinema.  To be able to see local and independent cinema on the big screen was truly a pleasure.

The first screening on Saturday was titled “Human Acts: International Drama”, which showed a variety of impressive short films. Nak Muay (2025) was a Thai film about a boxer whose career takes a hollow twist. A cautionary tale about the price of fame and success, director Tinge Krishnan brings a sombre and thoughtful take that sits confidently amongst the plethora of competitive fighting films in recent years.

Nightfaces (2025) was an Austrian film about a taxi driver whose night takes an unexpected turn. Simple but engaging, standout performances by Anton Noori and Sonja Romei explore the intimate action of an almost irrational kindness.  Other films included Melody of Memories (2025), Ray the Rug (2024), and The Perfect Ball (2025).

After a quick break, the next segment of short films began. “Standing Our Ground: Women’s Voices” had an eclectic and engaging series of shorts written and directed by women.

My Friend Songzhi (2025) was a quiet, reflective film. It explores the death of an elderly woman in the town, who is seen by most to be a crazy old person who wouldn’t be missed. By telling the story from a child’s perspective, director and writer Xia Fan draws out a careful and interesting story about how woman can be marginalised, even by their local communities.



The Contraception Fair (2025) was a visual comedic piece highlighting the often-unspoken expectation that women should be the ones to take contraceptive medication. By painting a surrealist picture, director Julie Magnaudet makes an important statement in a flash of colour and absurdity. Other films included Afterall (2024), Ovary-acting (2025), and Carrott Cake (2025).

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