MAXIMUM TILT: What to expect

Part of MAXIMUM TILT

Three men stand behind a tall barbed fence on a grassy hill that cuts across the frame at a diagonal. Behind them, huge high-rise buildings form a city scape cast in a humid haze. The men appear to be isolated from the greenery in the foreground.
Prantik Basu, ‘Makara’ (2013). Courtesy of the artist.

The programme for MAXIMUM TILT explores land, place and belonging through a selection of films that explore collective agency over placemaking common to both rural and urban settings. Bringing together films made in Scotland and the UK in conversation with international works, the programmers intend to undermine conservative and authoritarian narratives of place and disrupt oversimplified and romantic ideas of the rural.

By considering the potential of moving image to be a political, poetic and collective endeavour, Andrew and Anne-Marie seek to trouble a nostalgic view of the past and find forms that resist a slide into disillusionment, apathy, and passivity in the present. Together we will explore how filmmaking can articulate and claim agency over place – insisting that perceived fixed realities are fluid and conditional.

Peter Hall, Akenfield’ (1974). Courtesy of BFI.

The format of MAXIMUM TILT builds on LUX Scotland’s past artists’ moving image programme Intentional Pauses (and Unforeseen Gaps) and our recent series of gatherings as part of the 70th annual Flaherty Film Seminar that took place across Scotland in 2025. Those events orientated around screenings, meals and small group discussions, and encouraged participants to discuss screening programmes within a non-hierarchal structure. Each event was a moment of coming together to carve out time to explore historic and contemporary movements in artists’ moving image practice. We are looking forward to extending this format across three-days at MAXIMUM TILT, in partnership with the University of St Andrews Department of Film Studies and Centre for Screen Cultures, a department internationally renowned for innovative research in global film and media cultures.

Tickets for MAXIMUM TILT are available to book on a sliding scale, and accommodation is available to book through the University of St Andrews.

Festival Schedule

Susan Hughes, ‘Ultraviolet’ (2026). Courtesy of the artist.
Susan Hughes, Ultraviolet’ (2026). Courtesy of the artist.

Screenings, discussions and meals will take place across the Byre Theatre for the duration of the festival. The festival schedule below is an outline of what to expect, a full programme can be found here.

Tuesday 23 June

Afternoon session

1pm – Registration
2.30pm – Opening screening
4pm – Comfort break
4.15pm – Group discussions
5.15pm – Break

Evening session

6.30pm – Group meal (complimentary)
8pm – Screening
9.30pm – End

Wednesday 24 June – Midsummer’s Day

Morning session

10am – Registration
11am – Screening
12pm – Comfort break
12.15pm – Group discussions
1pm – Break

Afternoon session

2.30pm – Screening
4pm – Comfort break
4.15pm – Group discussions
5.15pm – Break

Evening session

6.30pm – Group meal (complimentary)
8pm – Screening
9.30pm – End

Thursday 25 June

Morning session

10am – Registration
11am – Closing screening
12pm – Comfort break
12.15pm – Closing discussion
1pm – Group lunch (complimentary)
2.30 – End

A cafe is available on site for drinks and refreshments.

Accessibility

For more information about accessibility at MAXIMUM TILT please visit this page.

Image descriptions:

1. Three men stand behind a tall barbed fence on a grassy hill that cuts across the frame at a diagonal. Behind them, huge high-rise buildings form a city scape cast in a humid haze. The men appear to be isolated from the greenery in the foreground.

2. A man stands beside a white-washed English house looking out into a sunny garden. Behind him, garden flowers become a pastoral green English field and woodland.

3. An image cast in vivid ultraviolet tones shows ship with deep red sails against a painterly seascape.



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