Look out for the first of our promotional postcards for the 2013-14 season.

As members will be aware we like to have you vote on how good or bad a film was. Here, with the exception of three films, are the results for the 2012-13 season from high to low.

The ratings are scored 100% for each 5 star, 75% for each 4 star, 50% for each 3 star, 25% for each 2 star, and 0% for each 1 star. 12 Angry Men received 20 five star and 5 four star ratings, for instance.

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Is on Tuesday 25th June in Filmhouse 3.

This year the lecture, by Colin McArthur, is on What Kind of (Scottish) Film Culture Do We Want?

Writer and former head of BFI Distribution Colin McArthur has explored the above question for decades in publications such as Brigadoon, Braveheart and the Scots, making it the natural subject for his Forsyth Hardy Lecture. He will review the aftermath of EIFF’s landmark 1982 Scotch Reels event (for which he convened the organising group and edited its accompanying publication), the institutional developments of filmmaking in Scotland and the possible lacunae — its concern with history, for instance — therein.

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Being the first in a regular summer series showcasing some of the seasons within the Edinburgh Film Guild’s 2013-14 programme…

Signed portrait of Mai Zetterling to the Guild on her visit to the Guild on 28 February 1948, when she talked about new Swedish cinema.

Mai Zetterling (1925-1994) was not only one of the first significant female directors of non-documentary feature films, but arguably deserves credit for being the first director of explicitly feminist films targeted at mainstream audiences – even if she herself decried the title of ‘feminist film director’ as a patronising label. Like Leni Riefenstahl before her, or her contemporary Jane Arden, she began her career as an actor. The story of her early life in her native Sweden (detailed in her excellent autobiography, All Those Tomorrows [1985]) was one of poverty and drudgery, and she left school at 13 to take up a series of menial jobs until her stage debut led to her acceptance at Stockholm’s Royal Dramatic Theatre School. After her defining cinematic role in Hets, she was signed by the Rank Organisation to make Frieda, thus beginning an initially promising but ultimately unrewarding fifteen-year period of British filmmaking in mostly forgettable B-list films and television productions.

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to all those who joined the Guild and came along to our screenings for the 2012-13 season. We look forward to welcoming you back for the 2013-14 season :-)