Chris Fujiwara, who is departing somewhat earlier than expected from his role as artistic director of the Edinburgh International Film Festival (EIFF), has much to be proud of when he looks back on the last three years.

He took an event that had lost its way, having done away with red carpet premieres and awards - moves that met with a thumbs down from audiences and critics - and restored its credibility in a crowded calendar of international movie jamborees.

Scottish film lovers will be relieved to see the event back in the ascendant; it is, after all, one of the oldest film festivals in the world and the longest to run continually, having been an Edinburgh fixture for 67 years. It would have been a bitter irony for the EIFF to decline in the world's pre-eminent festival city, but that danger has receded.

However, questions still remain about the EIFF's future. It is now six years since it moved from its long-standing August slot, alongside the city's other festivals, to June. While the transfer has given the festival elbow room and a chance to shine without competition from other events, it has also at the same time lost some of the buzz it had when rubbing shoulders with the Fringe, International Festival and television festival. It looks unlikely it will move back, but some regulars would like it to do so, complaining that it feels flatter than it once was.

Perhaps it could further improve its fortunes by casting a glance westwards to the Glasgow Film Festival, a mere whippersnapper of 10 years but already a big success due to its emphasis on pleasing viewers. Once described by co-director Allison Gardner as a "festival for people who do not go to film festivals", it has done an impressive job of attracting audiences.

Chris Fujiwara, it must be said, has done much to help boost visitor numbers: admissions rose by 33 per cent during his tenure, to an impressive 46,000 this year.

The two occupy different niches, however, the EIFF being a more businessy event orientated towards the film industry. Having both types of festival in Scotland is a boon, and there is no reason to believe they should not both continue to thrive alongside one another, but the EIFF is now facing uncertainty over whether Creative Scotland will continue its financial support. While the festival has other backers, including the City of Edinburgh Council and EventScotland, its Creative Scotland funding is critically important.

It is perhaps unlikely that the country's main arts funding body, having navigated many controversies of its own over the past few years, would wish to put itself back in the line of fire by undermining such a prestigious and well-respected annual event, but the festival can take nothing for granted until its long-term funding arrangements are announced.

Unexpected change always gives rise to anxiety, but Mr Fujiwara leaves Scotland's largest film festival in a strong position to look confidently ahead to the next 67 years.