Edinburgh’s festival of visual theatre and animation brings its most ambitious programme yet, reclaiming the iconic Filmhouse and unleashing a giant illuminated cephalopod on the city streets.
If February in Edinburgh is traditionally a grey month for the arts, Manipulate Festival is determined to repaint it in technicolour. Returning for its 19th edition, one month from now, the festival offers a programme that doesn’t just tick boxes—it expands the map. From a historic first residency at the newly reopened Filmhouse to a giant inflatable octopus parading through the suburbs, the 2026 offering suggests an organisation growing in confidence and scale.
For long-time observers of the Edinburgh cultural scene, the headline news is the festival’s move into the Filmhouse. While Manipulate has always championed animation, 2026 marks a significant gear shift with the launch of its inaugural ‘In Competition’ strand—a juried selection of the best Scottish animation from the last three years. This isn’t just a screening; it’s a statement of intent to solidify Scotland’s standing in the global animation sector.
Festival Highlights: Across the City
With a programme spanning film, theatre, dance, and outdoor spectacle, the 2026 edition is dense with invention. Here is a snapshot of the standout events across the key strands:
On Screen (Filmhouse): Beyond the new competition strand, the film programme features a cerebral double bill of Don Hertzfeldt’s existential masterpiece It’s Such a Beautiful Day paired with the political odyssey ME. For a more intimate experience, the One Bum Cinema Club returns—a free, tiny cinema for one person that offers a bite-sized festival hit.
On Stage (Traverse Theatre): Fresh from a sell-out run at the Southbank Centre, Italian collective Dewey Dell reimagines The Rite of Spring. This isn’t a polite ballet; expect an eclectic mix of breaking and contemporary dance that taps into the raw, animalistic energy of Stravinsky’s original score.
On Tour (Various Venues): Julia Taudevin is a powerhouse of Scottish theatre. Her new show with Disaster Plan, Auntie Empire, promises a “bloody, messy, hilarious” satire on the British Empire, combining sharp writing with the grotesque style of ‘bouffon’ clowning for a visceral night out.
On The Streets (Citywide): Ocho, a giant illuminated octopus puppet created by Tim Davies Design, will bring the festival out of the black box. Touring communities from Wester Hailes to the city centre, this inflatable spectacle features eight articulated legs operated by a single puppeteer—a feat of engineering and imagination.
If February in Edinburgh is traditionally a grey month for the arts, Manipulate Festival is determined to repaint it in technicolour.
After Hours (Summerhall): The Manipulate Festival Party on February 6th offers a chance to let loose, headlined by Czech theatrical-folk group Fekete Seretlek. Expect a fusion of Balkan, Russian, and Klezmer music mixed with pop-up puppetry. Not for the feint hearted.
Global Vision, Scottish Soul
While the festival boasts artists from over 25 countries, the core of the 2026 programme remains fiercely supportive of Scottish talent.
“We are thrilled to bring back Manipulate Festival in 2026, bigger and better, working in partnership with more organisations across Edinburgh than ever before,” says Dawn Taylor, Artistic Director & CEO of Manipulate Arts.
Leading the charge is Mamoru Iriguchi, teaming up with Vanishing Point for the World Premiere of Size Matters. Iriguchi, a perenntial local favourite for his surrealist wit, explores themes of scale and perception here—featuring puppet versions of the performers. Elsewhere, Sadiq Ali Company returns with the Scottish premiere of Tell Me. Using Chinese Pole and aerial artistry, the piece offers a fresh perspective on HIV, exploring “connection to the self, to friends, to community in the face of stigma and silence.”
“We are thrilled to bring back Manipulate Festival in 2026, bigger and better, working in partnership with more organisations across Edinburgh than ever before,” says Dawn Taylor, Artistic Director & CEO of Manipulate Arts.
“Bringing the work of such a fearless, inventive, diverse and talented group of artists to stage and screen is both a privilege and a joy,” Taylor continues. “And whether you’re looking for gripping stories, stunning visuals, rollicking entertainment or political provocation, there’s truly something for everyone in this year’s programme.”
Supercharging the Sector
At a time when the arts often face contraction, Manipulate is pushing for expansion. Jaine Lumsden, Theatre Officer at Creative Scotland, notes the shift in gear:
“Manipulate Arts Festival is supercharging its puppetry and animation programme with a dynamic showcase of visual theatre, supporting Scottish and international creatives to present bold and transformative new work. Across Edinburgh’s venues, stories will be brought vividly to life through cutting-edge innovation in visual theatre and animation; sure to inspire, entertain and captivate audiences.”
For Taylor, this ambition is rooted in the unique ability of these art forms to tackle complex subjects.
“From the deeply personal to the deeply philosophical, this year’s programme spans a wide range of themes including explorations of our relationship with time, to the awesome power and beauty of nature, and the enduring legacies of colonialism,” she says.
“Manipulate Festival is a true celebration of excellence in visual artforms, with the calibre and range of work on offer demonstrating huge potential in these forms to communicate human stories and big ideas to audiences of all ages.”
Reader, trust me when I say that Edinburgh is lucky to have Manipulate to brighten our Winter. If you, like myself not long before the pandemic, have never been, or never heard of it, trust me and buy a ticket or two. The chances are you won’t ever have seen anything quite like what you’ve signed up for – go and be amazed.
Featured Image: Ocho 2 – credit Tim Davies
