OUR The BFI serves a public role which covers the cultural, creative and MISSION economic aspects of film in the UK. & VA LUES

Founded in 1933, the BFI is a registered BFI2022 builds on the foundations In carrying out our duties, charity governed by Royal Charter. laid by Film Forever, to create the we undertake to: Under the Royal Charter, the BFI has conditions for a vibrant, national five objectives: film culture in which independent – Consider the views of the industry, film is widely enjoyed as part of a our audiences and our partners – To encourage the development of thriving and diverse UK film industry, – Be efficient, effective and accessible the arts of film, television and the equipped to meet the rapid changes – Be honest, open and accountable moving image throughout the UK in the film landscape. for our actions – To promote their use as a record of – Provide clear and appropriate contemporary life and manners Investing almost £500 million from 2017–2022 (made up of Government information, guidance and feedback – To promote education about film, Grant-in-Aid, BFI earned income and – Share and learn best practice in order television and the moving image National Lottery funding), BFI2022 to continually improve the services generally and their impact on society outlines how the BFI will continue on offer. – To promote access to and appreciation to focus on audiences and culture, of the widest possible range of British supporting film education and skills and world cinema development, and backing exciting – To establish, care for and develop new filmmaking. collections reflecting the moving image history and heritage of the UK. The strategy has four key priority areas: The BFI is the distributor of National – Future audiences Lottery funds for film. – Future learning and skills – Future talent – Leadership

It is underpinned by a wider interpretation of film to embrace new forms, a sustained commitment to diversity and inclusion, and creating more opportunity for everyone across Front cover: Been So Long (Tinge Krishnan, 2108) the whole of the UK. This page: The Adventures of Prince Achmed (Lotte Reineger, 1926) 2 3 CONTENTS

UK-WIDE ACTIVITIES SOME KEY PAGE 34 BFI-BACKED TITLES PAGE 44 FUTURE LEARNING & SKILLS SUPPORTING FUTURE PAGE 36 FILMMAKING TALENT PAGE 48 FUTURE TALENT PAGE 42 ON THE INTERNATIONAL STAGE PAGE 50

55 8

FOREWORD WORKING PUBLIC POLICY, PAGE 4 WITH PARTNERS LEADERSHIP ACROSS THE UK & ADVOCACY FUTURE AUDIENCES PAGE 26 PAGE 52 PAGE 8 BFI DIGITAL FUNDRAISING FESTIVALS PAGE 28 & PHILANTHROPY PAGE 16 PAGE 58 MOVING IMAGE THE BFI CULTURAL HERITAGE BFI INCOME PROGRAMME PAGE 30 & EXPENDITURE PAGE 20 PAGE 62

4 16 58 5 FOREWORD

This annual report covers the first all our platforms and with partners It has been rewarding this year to growing economic benefit for the UK. Following the revelations of high profile After several years of extensive year in our new strategy BFI2022. across the world. Examples of such see so many National Lottery-backed Nevertheless, we identified in BFI2022 a instances of sexual abuse and bullying preparation, we were proud to launch It is a strategy designed to build on programmes have included a tie-in filmmakers being recognised for their concern for the future competitiveness in the industry, we led on an immediate the largest public searchable, interactive the strengths of Film Forever, and was with the national celebration of India, a work. This includes outstanding debuts and creative value of British independent response in partnership with BAFTA and database dedicated to British feature shaped by all that we have heard during much-fêted exploration of the work of by Rungano Nyoni (I Am Not A Witch, filmmaking in this fast evolving and the Cinema and Television Benevolent films released in the UK. The BFI our UK-wide consultation. Ingmar Bergman, and a nationwide look 2017), Francis Lee (God’s Own Country, complex digital arena, where traditional Fund (CTBF) to create a set of principles Filmography includes over 100 years at ‘Thriller’ as a genre on the big and 2017) and William Oldroyd and Alice business models are in constant flux. against bullying and harassment which of data on the nearly 10,000 film titles BFI2022 supports the fast-evolving small screen. One of the strengths of the Birch (Lady Macbeth, 2017) winning We have responded and, as promised, were adopted by over 40 film-related (growing weekly) released. Looking at technological creative arena and new BFI cultural programme is its inventive awards at the BIFAs and BAFTAs, along launched a bespoke commission, headed organisations and embedded in our the gender data reflected in the database post-referendum opportunities and capability of accenting inclusion and with Lynne Ramsay achieving great by Zygi Kamasa, CEO of Lionsgate UK Diversity Standards. We also introduced revealed some stark and uncomfortable challenges. Its focus is on a wider diversity. Examples included a year- acclaim in Cannes for her prize-winning and Europe, with members from across clear, reportable targets for inclusion realities about the scale of change interpretation of film to cover new forms; long focus on re-positioning the role You Were Never Really Here (2017) the value chain. The commission will across key activities. Ensuring that needed. The data is also a rich source a sustained commitment to diversity; of women in the history of film, and a report later in 2018. education to tackle these issues is of material for policy makers seeking and new initiatives that devolve more much talked about celebration of the It has been a bumper year for film available from an early age, we were glad to understand the value and impact of decision-making and funding to create Woodfall films with their focus on overall in the UK, with production in Diversity and inclusion are at the heart to enlist the expertise of our partner Into policy interventions. We are the first greater opportunity across the English working class heroes. 2017 reaching a new high of £1.9 billion. of our strategy, with the desire to create Film who now reach almost 9,000 schools country in Europe (possibly the world) regions and the Nations. It is important to recognise the winning new opportunities for thousands of through their film clubs and many more to have this level of data about our own We have adapted our funding criteria to combination of a competitive fiscal individuals from all backgrounds. through their social media activity. indigenous industry. BFI2022 is arranged in four sections: support work across different platforms, environment provided through the UK This is a key commitment in BFI2022 future audiences, future learning and encouraging creative filmmaking that film tax incentive, the excellence of craft and we have launched Future Film Skills: skills, future talent, and leadership, and expands the possibilities of storytelling and crew, professional expertise in our A 10 point action plan to address emerging steady progress has been made against and form. As part of our expanding infrastructure, and the pure exhilaration skills shortages and make it easier for all the pledges. BFI NETWORK, we have appointed six of UK creative innovation. people to enter the industry. We were talent development executives across delighted to award a significant five-year Future-proofing a creative endeavour England who will provide greater access All of this, with the essential service contract to Creative Skillset to deliver depends on bringing through the next and support for talented emerging support from many of our partner this very important, industry-backed generation, a generation that is confident filmmakers in key cultural film agencies such as the British Film skills strategy to help future-proof and knowledgeable and inspired by its hubs through the BFI Film Audience Commission and Creative England continued growth in the UK’s flourishing cultural foundations. This year, the Network. Their work will complement and the national agencies who look film sector. BFI has bristled with globally inspired programmes already established in after production services, is a winning programmes of film, delivered across Scotland, Wales and Northern Ireland. combination that reaps massive and

A Fantastic Woman (Sebastián Lelio, 2017) 6 7 The challenges and opportunities of The Government’s announcement of radically about the future, how we leaving the European Union, alongside its industrial strategy, with the creative can continue to present the ambition the launch of the Government’s industries selected for an ‘early sector we have for film and the wider moving industrial strategy, have dominated deal’, was a vote of confidence in the image, and how we can position our policy and advocacy work during ability of creative businesses to drive ourselves financially to better support the year. The BFI continues to draw economic growth and create jobs across the wider screen environment heralded on the expertise of the Screen Sector the UK. Through our membership of in our strategy. Taskforce – a cross industry group that the Creative Industries Council and we convened to examine the economic the Creative Industries Federation we This is an important moment to and cultural impact of leaving the EU. have worked hard to ensure that new recognise the amazing and dedicated The Taskforce is working closely with measures to support the success story work of our staff whose depth of Government to ensure the best possible of UK film were reflected in this expertise, curiosity to learn and outcome for the UK screen sector. Of important strategy. commitment to sharing their love of equal importance is the strength of film is the real power behind the BFI. our networks in Europe and beyond We look forward to 2018-19 with a They are, of course, led by a highly and much energy has been committed Comprehensive Spending Review knowledgeable and committed Board of to maintaining our presence in key that allows us to present a fresh and Governors who bring support, guidance European forums. ambitious future vision for the BFI and wisdom throughout the year. and the film industry. We are thinking

This is an important moment to recognise the amazing and dedicated work of our staff

AMANDA NEVILL CBE JOSH BERGER CBE CHIEF EXECUTIVE CHAIR, BOARD OF GOVERNORS

Breathe (Andy Serkis, 2017) 8 9 FUTURE We are passionate about offering an unmatched diversity of public programming AUDIENCES and discovering the riches of world cinema and significant UK stories on film

DELIVERING GREAT FILMS TO AUDIENCES EVERYWHERE We believe that everyone should have opportunities to enjoy and learn from the richest and broadest range of UK and international filmmaking. This means not just feature films on traditional formats, but also excellence and innovation in all kinds of moving image storytelling.

Firaaq (Nandita Das, 2008) 10 11 Live performances of Shiraz attracted audiences of over in India 9,000 & London

Baahubali 2: The Conclusion (S.S. Rajamouli, 2017)

Gulabi Gang (Nishtha Jain, 2012)

Shiraz: A Romance of India (Franz Osten, 1928)

INDIA ON FILM Two newly digitised collections of films A special highlight was the restoration Shiraz was released UK-wide by BFI Southbank hosted monthly India from the archive launched on BFI Player of Franz Osten’s British-Indian-German BFI Distribution, in addition to on Film events including a screening India has one of the world’s most and other platforms: South Asian Britain co-production Shiraz: A Romance of Hotel Salvation the award-winning of Baahubali 2: The Conclusion, with culturally rich and prolific film on Film, exploring the lives of South India (1928). A newly commissioned first feature from Shubhashish celebrated director S.S. Rajamouli, industries. Throughout 2017, we Asian Britons and work of South Asian score was composed by sitar virtuoso Bhutiani, and Sandhya Suri’s resonant which also attracted an audience of celebrated the diversity of Indian filmmakers across the 20th century, Anoushka Shankar, who accompanied Around India with a Movie Camera which 720,000 viewers through Facebook live. filmmaking and films about India, and India on Film, 1899-1947, a ground- the film live with her ensemble when fused some of the earliest surviving from Bollywood to Tollywood (home of breaking collection of films including the film premiered at the BFI London film from India with travelogues, home Telugu and Bengali cinema), in cinemas some of the earliest moving images Film Festival in front of a capacity movies and newsreels from British, and online. Our programme included of India, most unseen for decades. In audience of 2,000 people. The film French and Indian filmmakers between previews of the biggest new releases, association with the British Council, and live ensemble went on to tour 1899 to 1947. To date, Shiraz has independent cinema, restorations of over 100 of these films were also made across India, in partnership with the screened in 23 venues and been classic titles and opportunities to meet available and promoted in India online British Council, visiting Mumbai, Delhi, seen by almost 2,200 people, while filmmakers and actors. and extensively in the media resulting in Hyderabad and Kolkata, and reaching Hotel Salvation has had 153 bookings over half-a-million views on YouTube and an estimated audience of 7,000. and around 15,300 admissions. BFI Player in a single three month period.

12 13 Ingmar Bergman Centenary

INGMAR BERGMAN releases of both films as well as on BFI Player. This extensive programme In January, the BFI joined global was accompanied by an ambitious line celebrations marking the centenary up of discussions, talent-led events of Swedish filmmaker Ingmar and immersive experiences, bringing Bergman. Our programme included Bergman and his work to life for a new a three-month season at BFI generation. The Bergman celebrations Southbank, UK-wide re-releases of were a collaboration between the BFI, The Touch (1971) and The Magic Flute the Ingmar Bergman Foundation, The (1975), a touring package of Bergman Swedish Film Institute, SF Studios and films which enabled cinemas around Sweden’s Ministry of Culture. the country to programme their own mini-retrospectives, and DVD/Blu-ray

Persona (Ingmar Bergman, 1966) 14 15 Kes (Ken Loach, 1969)

BRITISH STORIES: WOODFALL

We celebrated the 60th anniversary of Woodfall Films, the pioneers of the British New Wave, with a month-long season at BFI Southbank, a DVD/Blu- ray box set and BFI Player collection. The season featured a reunion of key Woodfall players and a special Working Class Heroes weekend with a keynote from Maxine Peake, and with Asif Kapadia, Lesley Manville, Naomie Ackie, Johnny Harris and Vicky McClure on various panels.

16 17 370 features & short films Total UK-wide audience 208,900

FESTIVALS For the second year, the temporary, purpose-built venue Embankment Claire Foy arriving for the Opening Night Gala screening of Breathe The year opened with the BFI Radio Garden Cinema was once again the Times TV Festival which attracted home for Strand Galas and films in over 10,000 attendees to more than Official Competition and proved 40 events over three days. Guests very popular with audiences. included Dame Maggi Smith, Michael Palin, Tom Hiddleston and Frida Pinto. The BFI Fellowship award was presented to renowned filmmaker THE 61ST Paul Greengrass and the competition winners were: Loveless (2017), directed BFI LONDON by Andrey Zvyagintsev (Best Film); FILM FESTIVAL The Wound (2017), directed by John The 61st BFI London Film Festival Trengove (the Sutherland First took place over 12 days in October, Feature Award); Kingdom of Us (2017), presenting an outstanding selection directed by Lucy Cohen (the Grierson of new and archival feature films, Documentary Award); and The Rabbit documentaries and short films from Hunt (2017), directed by Patrick Bresnan around the world. We welcomed over (Short Film Award). 900 international and UK filmmakers to the festival, while audience numbers The BFI Player hosted a complementary as a whole reached 208,900, an increase programme with a number of titles of 8% on 2016. In London there were launching on the platform shortly after 180,900 attendances while a further their festival screenings including Beach 28,000 people enjoyed the festival Rats (Eliza Hittman, 2017), I Am Not A through satellite screenings across the Witch (Rungano Nyoni, 2017), and Most UK of the opening night film, Andy Beautiful Island (Ana Asensio, 2017). Serkis’ Breathe (2017), Valerie Faris and Jonathan Dayton’s Battle of the Sexes (2017) and Dorota Kobiela and Hugh Welchman’s Loving Vincent (2017). Nicole Kidman And Colin Farrell arriving Andrea Riseborough arriving for the Gala screening of Battle of the Sexes for the screening of Killing of a Sacred Deer 18 19 BFI FLARE: LONDON For the fourth year, BFI Flare and the British Council made five LGBTQ+ LGBTQ+ FILM short films available to audiences FESTIVAL across the world as part of the ground- breaking #FiveFilms4Freedom LGBTQ+ BFI Flare is the biggest LGBTQ+ digital campaign. The five films were festival in Europe and the 32nd viewed online more than 2.5 million edition attracted more than 23,800 times across 12 days in 146 countries. people over ten days in March and Also in its fourth year was the BFI April, showcasing 168 films from Flare Mentorship programme – a 35 countries. Talent in attendance partnership between BFI NETWORK, included: BFI Fellow Hugh Grant who BFI Flare and BAFTA, which brings introduced Maurice (James Ivory, 1987) together emerging LGBTQ+ filmmakers on stage alongside co-star James Wilby; to receive mentoring by a senior figure writer, director and star of The Happy from the film industry and access to BFI Flare programming team Prince (2018) Rupert Everett; and bespoke events and roundtables during director of 120BPM (2017) the festival. Robin Campillo.

120 BPM (Robin Campillo, 2017) 20 21 WHO CAN YOU marked the French director’s centenary BFI Player supported the season with year, and a special under-25s event VOD, SVOD and free Who Can You Trust? TRUST? A SEASON screening of The Conversation (Francis collections featuring popular titles such OF THRILLERS Ford Coppola, 1974), with an immersive as The Third Man (Carol Reed, 1949), BFI Blockbuster seasons throw a light interactive sound performance by Crimes of Passion (Ken Russell, 1984) and on genres of filmmaking and offer a audio visual artists Dubmorphology. King of New York (Abel Ferrarar, 1990). unique opportunity to explore and revisit key moments of cinema past HOME in Manchester and the Edinburgh Meanwhile, our 2016 blockbuster and present. Our new blockbuster, Filmhouse were among other cinemas Black Star continued its international Who Can You Trust? A season of thrillers, programming their own Thriller journey with a series of over 20 films launched at BFI Southbank in August seasons, including re-releases of North and special events at the Toronto with two major strands and The Big By North West (Alfred Hitchcock, 1959) International Film Festival in Canada Thrill Day – ‘the Glastonbury of thrillers’ and The Silence of the Lambs (Jonathan in November. Black Star was our fourth – featuring talks, masterclasses, VR Demme, 1991), with support from the BFI blockbuster, and it was delivered in experiences and films. Almost 60% of BFI Film Audience Network (BFI FAN). partnership with BFI FAN, Into Film the audience who attended were aged Released on Blu-ray and DVD, The and the ICO. The season explored a under 30. A special Mezzanine Gallery Wages of Fear (Henri-Georges Clouzot, galaxy of black acting talent to throw exhibition running alongside the season 1953) also played across 22 cinemas a spotlight on the creativity and showcased photography, designs, UK-wide to promote its release. The ICO charisma of trailblazing performers, posters and other publicity material additionally made ten titles available as well as celebrating the transatlantic from the BFI Special Collections. for a Who Can You Trust? national tour, wave of black British talent. with subsidies available for five titles Other Thriller programming included a to incentivise venues to take risks with two-month Jean-Pierre Melville season their programming. Visions of the Underworld, which also

LGBT 50 the ICO) which launched at Pride in London. Internationally, we partnered We marked the 50th anniversary with the British Council on a touring since the partial decriminalisation programme of classic LGBT features of homosexuality in England and and shorts from directors including Wales with a number of screenings Derek Jarman, Isaac Julien and and events at BFI Southbank and on Terence Davies. BFI Player, as well as around the UK and during BFI Flare. Gross Indecency The Gross Indecency BFI Southbank – exploring LGBT lives in Britain was an season was followed both in venue archive-led season examining lives and on BFI Player by a focus on the and on-screen homosexuality in the work of playwright Joe Orton, marking decades before and after the 1967 50 years since his death. The BFI Player Sexual Offences Act. Unlocking Film Heritage collection LGBT Britain on Film was a highlight UK-wide activities included the of an already impressive season and release of Hanif Kureishi and Stephen received a phenomenal 25,000 or more Frears’ My Beautiful Laundrette (1985) views, plus almost 400,000 views for on Blu-ray and a touring programme clips/films on social media. of archive film (in partnership with BFI Thriller blockbuster

Run Lola Run (Tom Tykwer, 1999) The Angelic Conversation (Derek Jarman, 1987) 22 23 ANIMATION 2018

The year-long animation programme Animation 2018, in partnership with BFI FAN, launched in January with 300 newly digitised and contextualised British animated films being made freely available on BFI Player. Three cinema programmes (of over 30 titles) of British animated films restored by the BFI National Archive premiered at BFI Southbank before touring internationally.

Available to view for free on BFI Player: Transformer (Charlie Jenkins, 1968) 24 25 Rainer Fassbinder: Director and provocateur Online video views for Britain on Film across all BFI platforms ONLINE reached over On BFI Player, Britain on Film collections proved to be as popular as ever and new collections launching to extensive 50 million press coverage included Britain on Film: Coast and Sea, Tennis on Film and Jewish this year Britain on Film. A 70-film collection – 1918 on Film – which told the story of British cinema in 1918 helped complete an epic, 400-title story of Black Panther Q&A with director Ryan Coogler British cinema during WW1, extending and enhancing understanding of and access to the films of this period. Also tying in with the centenary of votes for women in the UK, Suffragettes on Film showed how suffragettes were depicted in early cinema. The collection, which was promoted on BFI Player, YouTube and via social media, combined actuality footage with satires including the first filmed representation of British suffragettes from 1899. Online BFI SOUTHBANK only UK event featuring a Q&A video views for Britain on Film across Popular programme highlights at with director Ryan Coogler. all BFI platforms reached over BFI Southbank included a retrospective 50 million this year. of German director and provocateur Throughout the year, guest curators Rainer Fassbinder and Stephen King on built seasons around contemporary SIGHT & SOUND Screen, a season celebrating the author’s releases at BFI Southbank. Producer 70th birthday. Girlfriends, a season Stephen Woolley meticulously Sight & Sound magazine’s Best Films exploring women’s friendships in all researched Girls Like Us, a Second of the Year poll was transformed into their various cinematic forms, attracted World War season to contextualise the an interactive visualisation of the full a young, female crowd to a packed premiere of his film Their Finest (2016), results and was the magazine’s most ‘Galentine’s Day’ special screening of Christopher Nolan curated a completely viewed online content of the year – Romy and Michelle’s High School Reunion digital-free season of films which had generating over 200,000 views. The (David Mirkin, 1997). inspired his latest feature Dunkirk results of the poll – particularly the (2017) and Edgar Wright programmed positioning of Twin Peaks at number two Our preview of Black Panther (2018) sold a selection of car chase movies to tie in on the list – generated a huge amount out in two minutes after going on sale. with a preview of his new work of spirited debate on social media about It was the first public screening and the Baby Driver (2017). the nature of film and television.

26 27 WORKING AUDIENCE FUND We have developed a simpler, more WITH accessible and responsive National Lottery-backed Audience Fund geared PARTNERS to better supporting our partners, distributors, exhibitors, festivals, ACROSS national and touring programmes and multi-year projects. The BFI THE UK Audience Fund is underpinned by our determination to boost diversity As the landscape for film, television and inclusivity, and to build a broad and the moving image evolves and film culture across the UK which expands, we are working with partners recognises and values the quality to give all audiences opportunities to of difference and aims to rebalance enjoy a wide range of culturally rich under-representation on screen, in material, in venues and on demand. the workforce and in audiences. We are also refocusing our audience- facing investments to maximise the impact they can make at a national Onjali Rauf (r), founder of Making Herstory, and Tanya Muneera Williams (l), of hip-hop duo and regional level. Poetic Pilgrimage, speaking at the WOW Women’s Film Club screening of Sonita (Rokhsareh Ghaemmaghami, 2015), a Film Hub Wales project with Gentle/Radical/WOW Film Festival in partnership with WEN Wales (Photo: Tracey Paddison)

Director Spike Lee speaking at the FAN ‘We Are Parable Event’

FILM AUDIENCE a greater focus on local and national and key programmes that better meet collaboration and are working more the specific needs of their exhibitors NETWORK closely with organisations such as and audiences. We have strengthened our commitment the BFI National Lottery-backed Into to devolving more decision-making Film and its school film clubs, the Six BFI NETWORK talent executives outside London by building on the BFI Audience Fund, and the BFI Film have been appointed to the English established success of the BFI Film Academy, with the collective aim Hubs to support new filmmaking talent Audience Network (FAN). A unique of bringing together regional and (see page 48). These changes recognise association of eight lead Hubs managed local expertise to engage and involve the strength of the Hubs as spaces for by prominent film organisations and more people from every background, audiences and filmmakers to meet. venues around the UK, this network regardless of where they live. has been the backbone of our strategy This move has further realigned our to ensure the greatest choice of film FAN organisations have greater activities to better match Arts Council is available for everyone. FAN is made responsibility for directly awarding England’s regions and create greater up of over 1,500 partners representing National Lottery funding to support potential for cultural partnerships a mix of venues, festivals, community and coordinate local distribution and collaborations. cinemas, programming collectives strategies, audience development and others. The partners now have projects, festivals, education activity Director Andrew Macdonald speaking at the BFI Network weekender

28 29 BFI DIGITAL

The BFI’s digital presence is attracting BFI Player is a pivotal platform for our one of the largest audiences in the UK cultural offer and continues to be our cultural sector with two million visits flagship digital product, home to the to our websites every month, whalf of Britain on Film archive collection, a film which come from overseas (led by the rental service for new indie films and a US, India and Indonesia). Around 50% subscription VOD offer. In 2017–18 the of our UK digital traffic comes from subscription service became available outside the South East of England, with through Amazon Prime’s Channels the majority of our audience in the programme, where it was listed within 18–34 age bracket. the top ten most popular channels.

Two million visits to bfi.org.uk every month The Lost Honour of Katharina Blum (Volker Schlöndorff, 1975) 30 31 TO ENSURE THAT EVERYONE, RESTORATION EVERYWHERE CAN ENJOY & REMASTERING MORE OF THEIR MOVING The BFI National Archive restores and remasters films from the national collection to remove the damage of IMAGE HERITAGE decades, to ensure that they are fully preserved for future generations and to be able to tell new stories about British film to today’s audiences. Major restorations that took place Delhi, Great Capital of India (1909) this year were made available across our platforms and included: Shiraz: A Romance of India (Franz Osten, 1928); Jabberwocky (Terry Gilliam, 1977); 30 British animated films made between 1909–1993, including work by leading animators Len Lye, John Halas, Joy Batchelor, Bob Godfrey, Alison De Vere and Joanna Quinn.

Delhi, Great Capital of India (1909) Rare early stencil colour travelogue Milling the Militants: A Comical Absurdity (Percy Stow, 1913) including scenes at Delhi’s Jama CHANGING ACCESS DIVERSE BRITAIN BFI MEDIATHEQUE Masjid mosque. TO THE BFI NATIONAL A key element of the archive’s The newly refurbished mediatheque Free to view on BFI Player as part of the National Lottery-funded film at BFI Southbank reopened in collection India on Film: 1899–1947 ARCHIVE digitisation programme has focussed November with 50,000 films and Milling the Militants: A Comical Access to the BFI’s national collection on telling stories about Britain’s TV programmes from the BFI National Absurdity (Percy Stow, 1913) has been transformed with over diverse communities across the 20th Archive made freely available. A silent comedy released at the 50,000 titles made available across century. Building on the success of height of the suffragettes. platforms including cinema screenings, collections exploring Black and Chinese Free to view on BFI Player as part of the international film festivals, BFI Player, Britain, over 150 film and television collection Suffragettes on Film mediatheques, DVD/Blu-ray, YouTube, programmes about South Asian, Jewish What’s a Girl Like You… social media and television, telling and LGBTQ lives and experiences were (Charlie Squires, 1969) What’s a Girl Like You… (Charlie Squires, 1969) compelling stories about British made available for free on BFI online Television documentary exploring film and TV. platforms and in cinemas. the drag renaissance and its working class audiences. An additional 500 newly digitised titles Free to view on BFI Player explored India before Independence, as part of the collection LGBT Britain Suffragettes, British animation, cinema Defending a Way of Life in Britain in 1918 and tennis. (Simon Heaven, 1980) Second generation Bangladeshi Many of the newly digitised films and youth in London’s Brick Lane celebrate TV programmes became part of our culture and community. Britain on Film online resource. Free to view on BFI Player as part of the collection South Asian Britain. Defending a Way of Life (Simon Heaven, 1980) Jabberwocky (Terry Gilliam, 1977), restored by the BFI National Archive 32 33 We will digitise 100,000 high-risk, culturally significant titles by 2022

HERITAGE 2022 As part of H22, we will also select professionals to researchers and Heritage 2022 (H22) is an ambitious, and create 100 new feature film students – can now search and explore National Lottery-backed digital projection prints of classics of British British film history, for free. The BFI transformation programme and a key and international cinema. Only the BFI Filmography is an ever-expanding commitment in BFI2022 to enable all has the form of film itself enshrined record that draws on credits from of us to enjoy more of the UK’s moving in a Royal Charter, so each new 35mm more than 10,000 films, from the image heritage. Its urgent purpose is to print will be made as it was originally first UK film released in cinemas in identify and safeguard 100,000 high- intended to be seen, with its full 1911 through to the present day, and risk, culturally significant titles held by aspect ratio, sound system and colour registers the 250,000 cast and crew the BFI National Archive and regional saturation as decided by the filmmaker. behind them. It launched with new and national film archives through and revelatory findings about the mass digitisation. For works on paper, the shift in emphasis gender imbalance in UK films, in both from physical preservation to digital on-screen and off-screen roles. While The next five to six years will be a preservation means that newly digitised the filmography began with a detailed critical time to save irreplaceable content can be securely stored in our look at gender, we are continuing to stories or rare and unique titles state-of-the-art digital preservation build on the data to provide a greater currently stored on at-risk videotape infrastructure (DPI), providing data understanding of BAME representation formats, film and paper. The risk to security, succession and access. on and off-screen. videotapes in particular has been widely acknowledged as a time- By working with rightsholders and The development of the BFI sensitive priority for all collection significant archival collections, we also Filmography was a major commitment holders. There are a finite number of plan to increase public access so that made in BFI2022 and with its launch playback machines and spare parts everyone, everywhere can continue to the UK has become the first major in working condition and, crucially, enjoy, explore and gain knowledge from filmmaking territory to make available a generation of highly specialised our digital heritage content. the complete data of its feature film support engineers are nearing the end output. This unique resource furthers of their careers. While H22 is a complex BFI FILMOGRAPHY the opportunity for film enthusiasts to mix and a challenging programme of discover and view thousands of films work, we have planned to deliver on In September 2017, we launched the from the archive, which are available its ambitions by March 2022 before the BFI Filmography, the world’s first online on BFI Player and through the window to secure a digital future for complete and accurate living record recently revamped BFI Mediatheque videotape collections closes. of UK cinema, which means that at BFI Southbank and mediatheques everyone – from film fans and industry UK-wide.

The World Ten Times Over (Wolf Rilla, 1963) – part of the BFI Mediatheque’s Beautiful Things collection 34 35 UK-WIDE ACTIVITIES BY REGIONAL HUB AREA

1 3 5 7 LONDON NORTHERN IRELAND SCOTLAND 5 SOUTH WEST BFI Film Academies 9 BFI Film Academies 4 BFI Film Academies 6 BFI Film Academies 6 Film Festival awards* 10 Film Festival awards* 1 Film Festival awards* 3 Film Festival awards* 6 Audience Fund awards** 3 Audience Fund awards** 0 Audience Fund awards** 2 Audience Fund awards** 8 FAN members 419 FAN members 86 FAN members 157 FAN members 140 BFI LFF screenings 51 BFI LFF screenings 2 BFI LFF screenings 33 BFI LFF screenings 45 Archive Partners 3 Archive Partners 1 Archive Partners 1 Archive Partners 1 Mediatheques 1 Mediatheques 0 Mediatheques 1 Mediatheques 0 Production & development awards 122 Production & development awards 5 Production & development awards 4 Production & development awards 4 3 2 4 6 4 8 MIDLANDS NORTH SOUTH EAST WALES BFI Film Academies 5 BFI Film Academies 13 BFI Film Academies 9 BFI Film Academies 3 Film Festival awards* 6 Film Festival awards* 13 Film Festival awards* 5 Film Festival awards* 3 Audience Fund awards** 9 Audience Fund awards** 16 Audience Fund awards** 3 Audience Fund awards** 4 FAN members 131 FAN members 284 FAN members 217 2 FAN members 124 BFI LFF screenings 47 BFI LFF screenings 92 BFI LFF screenings 104 BFI LFF screenings 8 Archive Partners 1 Archive Partners 3 Archive Partners 3 Archive Partners 1 Mediatheques 1 Mediatheques 2 Mediatheques 1 8 6 Mediatheques 1 Production & development awards 3 Production & development awards 17 Production & development awards 16 Production & development awards 5 1 7

* Excluding LIFF, and derived from the list of festivals we funded in 2016–17. Most of those in 2017–18 are funded directly from the new BFI Audience Fund, and a few via BFI funding to the Film Hubs. **The Audience Fund replaces the former funds for Programming Development, Neighbourhood Cinema and, to come, Film Festivals.

36 37 FUTURE Giving everyone the educational opportunity to build a lifelong LEARNING relationship with film & SKILLS

MEETING THE SKILLS NEEDS OF THE FUTURE UK film is worth £6.1 billion (2018 camera, costume, hair and make-up, workforce and state of the art facilities figures) to the economy and is the post-production, and visual effects – in film, high-end TV, animation, UK’s fastest growing sector, currently and highlighted the need for 10,000 VR and interactive media. employing around 88,400 people, over new entrants to join the workforce in 70% of whom are employed in film and the next five years. It also asks the We are investing £20 million of video production. To gauge the skills industry to take urgent measures National Lottery funding over the needs for the future, we convened to tackle the lack of inclusion in the next five years to support this skills a Film Skills Industry Task Force, screen industries. plan, in line with our commitments Young people are the most intensive chaired by producer Barbara Broccoli to the future as set out in BFI2022. users of moving image and generally and comprised of significant figures The 10-point action plan was launched We anticipate this investment will have the clearest vision of where from across the sector. To help inform at an event in Parliament in June to leverage match funding from the screen-based communication, the Task Force, we commissioned some of the biggest names in film industry’s own Skills Investment entertainment, knowledge and learning the Work Foundation to carry out a and education and with the Culture Fund to become a cornerstone of this fits into their lives. Our ambition is to review with practitioners across the Secretary and Minister in attendance. industry-owned and industry-led create clear progression paths, both industry to identify key measures to The plan embodies a UK-wide challenge initiative for the future. for future audiences as they develop enable continued future growth and to the screen industries and education a passion for film, and for talented competitiveness in UK film. sector to support its ambitions for skills In December, following a competitive young people who will be the future of growth which include an estimated call for applications, we announced our film industry. With BFI2022 we are Drawing on the findings of this review 30,000 job opportunities over the that the UK’s industry skills body mapping together education, learning and working in partnership with the next five years. It is also a call for Creative Skillset would deliver the and skills development across all our industry, our new Future Film Skills: people with transferable skills and majority of the skills programme funded partners and exploring how our An Action Plan identified multiple skills young people – especially those from following its move to concentrate UK-wide venue partners, BFI Player and gaps across the sector – including underrepresented groups – to join a entirely on skills across the UK’s other online collaborations can become key areas such as production and art booming industry that is recognised screen-based creative industries. more relevant to our future audiences. departments, construction, electrical, the world over for its highly skilled

38 39 Into Film reaches 5.4 million young people An homage to Paddington 2 (Paul King, 2017) at the launch of the 2017 Into Film Festival

INTO FILM downloaded 190,000 times in 2017–18 and 4,800 UK educators participated The core remit of our BFI National in a CPD programme. Lottery funded education partner Into Film is to deliver a film education Into Film’s work acknowledges the programme – watching, making and vital role that learning has to play understanding film – for 5–19 year olds in developing the film audience of that can be accessed free of charge by tomorrow and in fostering curiosity every state school and eligible youth and knowledge that lead to a passion group in the UK. It has an additional for film and cinema. This work is vital emphasis on 16–19 year olds in support in helping us make a sustainable shift of the BFI FAN focus on developing to film’s place and status in education young audiences aged 16–30. and cultural learning and to ensure film is embedded in formal and Into Film recorded almost 9,000 informal teaching and learning practice, extra-curricular film clubs UK-wide and the cultural offer of schools. in 2017, with 20% of 5–19 year olds actively engaged. Figures were above The annual Into Film Festival saw the national average indicator for free 486,000 attendees of whom well over school meals. Its online resources were 400,000 were children and young people.

Into Film Festival 40 41 BFI FILM ACADEMY The BFI Film Academy is open to all young people aged 16–19, regardless The BFI Film Academy offers a real of where they live or their background, 15 – 18 FEBRUARY 2018 | BFI SOUTHBANK FUTURE SKILLS us with rich data to show the impact chance for talented 16–19 year olds and it also offers bursaries to help TRAINEESHIPS of our scheme in helping young people to be part of our future film industry. those in need with costs. Now in its overcome the barriers that prevent With 48 regional courses and six sixth year, more than 5,000 young WITH LUCASFILM many of them from being aware of specialist residential programmes to alumni across the UK have attended In partnership with Lucasfilm, we have opportunities in the film industry, choose from, over 800 young people one of the many courses. Of these developed the Future Skills traineeship hopefully providing a model for onward took part this year, learning new participants, over 85% have gone programme to give opportunities for entry level trainee recruitment. skills and gaining valuable hands- on to pursue further education a career in film to under-represented on experience to help progress their connected to film or become employed young people from all over the UK. FUTURE FILM THE ULTIMATE FILM FESTIVAL FOR 16 – 25 YEAR OLDS pathways into the industry. in the sector – a number of them PACKED WITH SHORT FILM SCREENINGS, Since the pilot launch in September on a traineeship scheme run in WORKSHOPS AND MASTERCLASSES 2016, the programme has provided FESTIVAL

Additionally the National Film and partnership with Lucasfilm. The BFI BFI.ORG.UK/SOUTHBANK 28 trainees, the majority of whom The UK’s premiere festival specifically Television School (NFTS) delivered Film Academy programme is backed are BFI Film Academy alumni, with for emerging young filmmakers aged HEADLINE PARTNER OFFICIAL PARTNER SUPPORTED BY

a two-week Craft Skills residential by the Department for Education (DfE) The premium brand of Seagate Technology an exceptionally high level of training 16–25 years – the BFI Future Film

programme for 66 promising young in England and by the National Lottery FFF 2018 4 Sheet Poster_Darts FINAL.indd 1 07/02/2018 17:46 and experience at one of the industry’s Festival – hosted its 11th edition in students, with masterclasses run by and industry partners UK-wide. This Annual awards showcase most successful production companies, February. The festival has grown top filmmakers including Sarah Gavron year the DfE has confirmed a further working as paid trainees in a variety of exponentially since its inception (Brick Lane, Suffragette), Gareth Edwards £2 million investment in the future of craft and technical roles. and now programmes a jam-packed (Monsters, Godzilla, Rogue One: A Star the Film Academy to 2020. four days with around 60 events Wars Story) and Destiny Ekaragha (Gone The BFI Film Academy was identified ranging from masterclasses, industry Too Far). On graduating from the NFTS as the primary source of trainees workshops, screenings and Q&As course, the 66 students premiered their Film Academy delivered by Reel Solutions for the programme, with a small that cover the breadth and depth of work at BFI Southbank to an audience intake from other specialised training the film industry, from animation of UK film industry leaders. With the backgrounds in areas where a and fiction to documentaries and BFI Film Academy becoming a trusted particular skills gap (such as hair and experimental filmmaking. and effective route into the industry, make-up) was not served by current the annual graduation is regarded as an Film Academy courses. Against This year’s festival received over 2,000 opportunity to spot and meet new up inclusion targets, the first round of submissions from across the UK and and coming talent. the pilot has proved highly successful internationally, the best of which – particularly in terms of gender and were nominated for the BFI Future BAME. The cohort was 75% female, Film Awards which have a cumulative 45% BAME, 36% in receipt of free school prize of over £12,000 across five UK meals and 68% of participants recruited categories recognising experimental from outside of London. shorts, new talent, and best short films for filmmakers aged 16–18 and 19–25. In 2018, the pilot will be extended and Two additional international awards Film Academy delivered by The Mouth that Roars it is expected that almost 60 trainees were supported by The London School will complete the Future Skills pilot of English. programme. This group should provide Film Academy Showcase

42 43 FUTURE TALENT

SUPPORTING THE and two BIFAs for debut director and Sundance, Edinburgh International FUTURE SUCCESS best director, marking her work as the Film Festival and at the BIFA and OF BRITISH FILM first project to be supported by BFI BAFTA ceremonies. NETWORK through BFI Production and Using National Lottery funding, on to the BAFTAs. Changes to our film funding guidelines the BFI champions diverse, bold and have seen the introduction of new distinctive voices in UK film. Our aim The Toronto International Film Festival diversity and inclusion targets for all is to support original UK filmmakers (TIFF) in September featured a bumper National Lottery backed films. Starting and their films, and to increase the selection of BFI National Lottery with the new funding year in 2018, audiences who can enjoy them. backed titles. Grace Jones: Bloodlight and diversity and inclusion targets will be Bami (Sophie Fiennes, 2017) opened set across all our talent development As filmmakers and audiences continue the Documentary strand and I Am work (through BFI NETWORK) as well to make fewer distinctions between Not A Witch closed the Discovery Film as both development and production film, television and other digital media section. Other BFI supported films that funding. (See page 55). (such as games, online video and screened included Breathe (Andy Serkis, virtual reality), we are also making 2017), while Mary Shelley (Haifaa al- Other changes announced included the sure our funds remain relevant, Mansour, 2017) and Journey’s End (Saul creation of six regional talent executive responsive and targeted to achieve Dibb, 2017) had their world premieres roles, a clear set of funding priorities, the most impact for the industry at the festival. Dark River (Clio Barnard, the ability to fully-finance projects, and audiences. We are also urgently 2017) and Beast (Michael Pearce, 2018) and the removal of restrictions on addressing barriers in the film industry screened in the Platform section. form and length of content. around inclusion and opportunity that are limiting the industry’s creative Other BFI National Lottery backed titles SUPPORT FOR potential and cultural relevance. that featured at the Sundance Film Festival were the premiere of Colette DOCUMENTARIES DEVELOPMENT (Wash Westmoreland, 2018), Yardie Following changes to our documentary (Idris Elba, 2018) and An Evening With awards structure, Doc Society were & PRODUCTION Beverly Luff Linn (Jim Hosking, 2018). confirmed as our official partner BFI National Lottery backed films had for BFI documentary activity and a strong year with many productions Notable theatrical releases included launched their new funding in March. achieving prominence including two debut features Lady Macbeth (William The BFI Doc Society Fund will develop features premiering at the Cannes Oldroyd, 2017) and God’s Own Country storytellers from all parts of the Film Festival – I Am Not A Witch (Francis Lee, 2017) both of which country and all communities, backing (2017), the debut feature from writer/ delivered impressive box office. feature projects with bold cultural director Rungano Nyoni, and Lynne Lady Macbeth won five BIFAs and and social ambitions, across a range Ramsay’s You Were Never Really Here received two BAFTA nominations, of platforms. (2017). Rungano Nyoni went on to while God’s Own Country received win a BAFTA for Outstanding Debut, nominations and accolades at

God’s Own Country (Francis Lee, 2017) 44 45 SOME KEY BFI-BACKED TITLES

COLETTE THE BOY WHO HARNESSED THE WIND YARDIE WASH WESTMORELAND CHIWETEL EJIOFOR IDRIS ELBA

COLD WAR WILDWILD ROSE ROSE IN FABRIC PAWEŁ PAWLIKOWSKI TOMTOM HARPER HARPER PETER STRICKLAND SOME KEY BFI-BACKED TITLES

HIGH LIFE BEEN SO LONG CLAIRE DENIS TINGE KRISHNAN

RAY & LIZ BEATS OUT OF BLUE 48 RICHARD BILLINGHAM BRIAN WELSH CAROL MORLEY SUPPORTING CREATIVE ENGLAND FUTURE iFEATURES FILMMAKING Creative England’s iFeatures scheme, which supports directors and writers making their first features, achieved TALENT success this year with Lady Macbeth and Apostasy (Daniel Kokotajlo, 2017) enjoying critical acclaim and firmly establishing exceptional new talent. Both films had awards recognition, with Dan Kokotajlo winning this year’s IWC Schaffhausen Filmmaker Bursary Award in association with the BFI. iFeatures is funded through BFI National Lottery and supported by BBC Films. Its Lab programme is These six new positions in England supported by Creative Skillset’s Film BFI NETWORK MICROWAVE Network@LFF join the existing talent development Skills Fund. BFI NETWORK is dedicated to the executives in Northern Ireland Screen, TALENT SUPPORT development of new and emerging Ffilm Cymru Wales and the Scottish Film London’s Microwave feature filmmakers. In changes announced Film Talent Network who all help to filmmaking scheme is now in its this year, responsibility for funding deliver BFI NETWORK. Doc Society ninth year of funding and providing decision-making was passed to the are also developing a programme development and mentoring support regions through the BFI Film Audience for new and emerging documentary to 12 shortlisted projects, as well as Network and with the appointment filmmakers as part of BFI NETWORK. production finance and distribution of six new BFI NETWORK talent support for its final two commissioned executives in the English regions. NETWORK events presented this year films. Microwave support is given to The talent executives will play a included BFI NETWORK x BAFTA Crew, develop bold and surprising films and significant part in shaping the BFI’s the BFI NETWORK Weekender and to champion emerging filmmaking engagement with emerging talent in mentoring programmes at both the talent that reflects the diversity of the area where they live. Supported BFI London Film Festival and BFI Flare. London. It is funded by the BFI and by National Lottery funding, these Supported with BFI National Lottery BBC Films, with support from Creative new roles will ensure that emerging funding, NETWORK@LFF is now in Skillset’s Film Skills Fund. The two filmmakers around the country can its fourth year and has built a strong features selected for this year’s final access expertise and information track record with alumni successfully commission and production and about funding for short film and early establishing careers, producing award- distribution funding were Violets development work as well as create winning shorts, developing features are Blue from writer/director Marley opportunities to connect with the local and finding roles within television Morrison and Mari from writer/director industry and established professionals. and beyond. This year 17 participants Georgia Parris. with an impressive range of experience across film, television, theatre and artists’ moving image were selected from 260 applications, with the goal of helping them take the next step in their careers. Apostasy (Daniel Kokotajlo, 2017)

50 51 ON THE INTERNATIONAL STAGE

BFI2022 has refreshed and International Fund supported a UK industry delegation to Beijing for a strengthened our existing international stand at the American Film Market week of meetings, presentations and strategy to help boost the export of (AFM) for the first time as a reflection networking with Chinese counterparts UK film, skills and culture. We are of the priority given to the North and this has enhanced networks, aiming not only to sustain a globally American export market. increased market understanding and competitive UK film industry, but created new business opportunities. also to make sure that our inward The Cannes Film Festival saw us This year saw the international release On the international stage: Shiraz on tour in India investment strategies reflect the showcase eight up-and-coming UK of the first co-production made under growth to be generated by existing talents who have projects in the market the UK-China treaty the 3D Earth: One and emerging screen tax reliefs, along at a well-attended GREAT8 event in Amazing Day (Richard Dale, Lixin Fan, with the benefits of the UK’s highly collaboration with the UK Government’s Paul Webber, 2017). Kingdom (JA Bayona, 2018), Aladdin (Guy National Lottery to maximise the video games as British, either under the skilled workforce, world-class talent GREAT campaign, British Council, Ritchie, 2019), and Outlaw King (David production of international feature film relevant Cultural Test or (for film and and infrastructure. BBC Films and Film4. Following the In March 2018 and funded by the Mackenzie, 2018), while television and high-end television in the television) as official co-productions showcase event, Tinge Krishnan’s Department for International Trade, investments covered Game of Thrones, UK, particularly for the US. The under one of the UK’s 12 bi-lateral Been So Long, starring Michaela Coel, we delivered a week-long placement Outlander and The Dark Crystal: Age BFC worked closely with production treaties (five of which allow television EXPORT & was signed up by Netflix while Michael programme in the UK for five Chinese of Resistance. and location service teams at other co-production) or the European CO-PRODUCTION Pearce’s Beast went on to play at other film executives. As part of this valuable BFI-funded agencies across the UK Convention. A separate UK/China The BFI’s Film Export Fund supports international festivals. developmental opportunity, they These record-breaking figures highlight including Creative England, Ffilm television treaty came into force in the sales and promotion of UK films at were briefed by top industry figures, the strength, skill and creativity of the Cymru Wales, Film London, Northern December 2017. The Unit also assesses key festivals and markets throughout At the Dubai International Film undertook placements with UK film UK’s film and high-end TV industries, Ireland Screen and Creative Scotland, the BFI Diversity Standards. the year. Delivered by Film Export UK Festival we supported and helped to companies and were introduced to a our world-class facilities and great as well as a network of film offices and with awards from the International develop a talent exchange project to range of UK professionals and talent locations, alongside the vital tax reliefs local authorities, to help with locations, During 2017–18, 287 films received Fund, the UK’s presence at Berlin, strengthen ties between filmmakers each evening. for the screen industries that make the studios and crew and also to ensure final certification of which 272 were FILMART, Cannes and Toronto in the UK and Arab world. This was in UK an attractive base for filmmakers. that inward investment opportunities cultural test films and 15 were are important opportunities for the context of the UK/UAE 2017 Year of INWARD INVESTMENT are distributed equally across the UK. co-productions; 201 video games promoting UK film and supporting the Creative Collaboration and was run in Several of the titles, including received final certification; and for engagement of UK filmmakers with partnership with the British Council. It was another very strong year for Jurassic World: The Fallen Kingdom CERTIFICATION television programmes receiving final their international counterparts. The international film and TV production in (JA Bayona, 2018) and Wes Anderson’s certification, 105 were for high-end BFI’s funding goes towards creating a To strengthen our relationships with the UK with a £1.69 billion spend from animated feature Isle of Dogs (2018), The BFI Certification Unit certifies programmes, 51 for animation and UK Film Centre at markets, acting as China and increase engagement from inward investment feature films and received backing from the British Film films, high-end television programmes, 60 were for children’s programmes. a base for meetings, information and the industry, especially the growth £684 million from high-end television. Commission, the UK agency supported animation television programmes, visual promotion. In November the of film sales there, we took a cross- Films included Jurassic World: The Fallen by the BFI through Grant-in-Aid and children’s television programmes and

52 53 PUBLIC POLICY, We are proactively working to represent the best interests of our LEADERSHIP industry in the post-Brexit landscape & ADVOCACY

This was a year dominated by the and copyright environment. We are Key areas the research has focussed Access to EU funding has been We have been reassured by the with the Screen Sector Task Force and launch of our new five year strategy continually engaging with Government on include: instrumental in the growth and Government’s explicit commitment we expect to continue to play a major BFI2022, engagement with Government and across Whitehall departments to • The impact and implications for the success of our sector. A report we that the UK’s creative sector tax role in shaping the UK’s position ahead and the screen sectors over preparations ensure that the best interests of our film, high-end television and games commissioned from SQW on flows reliefs will not be affected by Brexit – of the talks in June. to leave the European Union and the industry are proactively represented at sectors, especially with regards to of EU funding into the UK screen including those available for film, new industrial strategy, and furthering every level of negotiating the new post- future access to European funding industries has highlighted the high-end TV, animation, children’s To help inform the industry and opportunities to strengthen and build Brexit landscape. or to new replacement funding considerable contributions received TV and videogames. Content will keep it up to date on progress and international relationships. • Issues around the freedom of between 2007 and 2017. The sector still qualify for the tax relief if it developments, we partnered with the To help inform the Task Force, we movement of talent, labour, goods received almost £300 million in passes the UK’s relevant cultural Edinburgh International Film Festival commissioned a number of research and services funding through a combination of test. UK co-productions will also still to host a session on prospects for the EXITING THE EU studies on the cultural, economic and • Working closely with the EFADs to schemes, with the Creative Europe count as European works after Brexit UK screen sector in Europe post-Brexit. legal implications of exiting the EU. ensure that the UK’s voice is heard MEDIA programme and the European Speakers included Manon Ardisson, With the UK’s negotiations with the The findings have been used as at European forums, particularly Regional Development Fund being most The UK and EU negotiating teams producer of EIFF’s opening night film European Union ongoing, we have met the basis for regular events and while the UK remains in Europe, significant. In December 2017 we have recently published a ‘Topics for God’s Own Country and Guy Daleiden, regularly with members of the UK information sessions with the and to ensure that any new trading received confirmation that the UK will discussion on the Future Framework’ CEO Film Fund Luxembourg and Screen Sector Task Force, a working Government, the UK industry and arrangements with the EU works in remain part of the existing Creative setting out areas to be considered in EFAD Deputy Chair. These sessions group we convened immediately with our European counterparts, in our mutual best interests Europe programme until December 2020. the next round of talks in June 2018. have proved important in keeping the following the Brexit referendum and particular the European Film Agency • Actively engaging with the European We were extremely encouraged to see industry informed as we engage with made up of representatives from across Directors (EFADs). Even after we have Commission and the European During the year we have sought to a proposed cooperative accord on the sector on key issues around Brexit the broader screen industries. The Task left, the EU will remain an important Parliament to help influence the clarify the Government’s stance and culture and education. Broadcast is and we held further sessions at the Force has been examining the impact market for British films (the EU Digital Single Market proposals, any legal position on important areas also due be discussed in the context BFI London Film Festival and at the of leaving the EU on our workforce, EU accounts for 38% of film exports), so country of origin principles and of UK policy post leaving the EU, of a future economic partnership. The Cannes Film Festival. funding streams, future market access it is vital that the UK keeps seeking to broadcasting freedoms. including the creative sector tax reliefs cooperative accord relates closely to the arrangements and the regulatory influence the shape of that market. and the UK’s status on European works. work that we have been undertaking

54 55 Director Tinge Krishnan, director of photography Catherine Derry, and lead actor Michaela Coel on the set of Been So Long

CREATIVE EUROPE sustainable businesses, maximising CULTURAL It was another successful year for the value of creative IP, generating an DIPLOMACY & our team at Creative Europe Desk UK international agenda focused on export SOFT POWER who continue to promote the Desk’s and inward investment, and enhancing services and give advice to the UK’s infrastructure to ensure we remain The UK’s film and screen sector is creative professionals and prospective competitive on the world stage. highly regarded internationally and the applicants about this important source BFI is regularly visited by delegations of funding. Through Creative Europe’s from Europe and the rest of the world MEDIA sub-programme, €12.8 million Screen Yorkshire to exchange information and ideas. was invested in the UK’s audio visual sector in 2017: 41 UK companies and received the first During the year we hosted visits from 46 UK cinemas in the Europa Cinemas the Danish parliament’s culture select network benefitted directly from grants BFI Creative Clusters committee; senior policy officials DIVERSITY & totalling €6.7 million, while 52 British from the Greek culture ministry; 20 films had their distribution supported Challenge Fund politicians and cultural leaders from INCLUSION in other European countries with €6.1 Gothenburg in Sweden; a visit by the BFI2022 has inclusion and million of investment. investment Pakistan Minister for Culture; and representation at its heart, providing Brazil’s Minister for Culture. We have opportunities for everyone to engage INDUSTRIAL The Sector Deal also recognised that also engaged with the cultural teams in film – through education, as part of almost half of creative businesses are at the Australian High Commission an audience, or as filmmaking talent in STRATEGY concentrated in London and the South and those working with the new US front of or behind the camera. During We were very pleased to see the East – an issue we have highlighted Ambassador to further cultural ties the BFI LFF we announced new diversity Government’s Industrial Strategy and addressed in BFI2022. We are and to exchange knowledge. and inclusion targets in our funding Green Paper recognise the important supporting the Government’s drive to guidelines which will now cover talent economic contribution that our tackle this inequity through new public development work (through BFI sector achieves for the UK, and its investment and industry backing for NETWORK), as well as development potential for the future. Following leading creative industries clusters and production funding for all National a detailed response to the Green with the potential to compete globally Lottery backed films. We will monitor Paper from the BFI-led UK Screen and become world-class, unlocking and report our decisions annually, Sector Task Force, the final Creative growth, investment and jobs. As part across the writers, directors and Industries Sector Deal that emerged of this ambition to strengthen the producers of supported projects, and from the Green Paper consultation sector across the UK, we were in terms of gender, ethnicity, sexual acknowledged the significance of delighted to announce the first orientation and disability. We have been the screen sectors and emphasised investment from our new Creative guided by these principles for a long education and skills development, Clusters Challenge Fund to a time, but they will now be put in place the importance of diversity, growing programme led by Screen Yorkshire. formally from 1 April 2018

56 57 Battle of the Sexes (Jonathan Dayton, Valerie Faris, 2017) The first-ever guide specifically to RESEARCH & economic impact of the UK’s screen tackle bullying and sector tax reliefs, using as part of its STATISTICS methodology, a sister study to establish harassment in the Research undertaken by the BFI a model for the job creation driven by during the year included audience production investment. Both these screen industries studies to support, monitor and studies are being undertaken jointly evaluate strategic BFI initiatives, by Olsberg SPI and Nordicity and will was published in addition to the activities of its be published in 2018. Research and Statistics Unit (RSU). The RSU is National Lottery funded Reflecting the ground breaking and undertakes an independent, diversity agenda that the BFI has driven trusted and rigorous programme of during 2017–18, the RSU launched an research led by an external advisory evidence review of Workforce Diversity group of representatives from all in the UK Screen Sector conducted by The first-ever Set of Principles and screen sectors, the outputs of which the University of Leicester’s Research Guidance to tackle bullying and are made freely available online and Institute for Cultural and Media harassment specifically tailored to in the public domain. It plays a vital Economies (CAMEo). This study, the screen industries were published part in the BFI’s support for the which was widely welcomed by the in February 2018 in response to the industry through the collation and industry, will be followed up in 2018 urgent and systemic issues revealed publication of official statistics as with a further investigation into the during the last quarter of 2017. well as thought leadership and the economic benefit of workforce diversity The guidance was developed by the commissioning of research, which in the UK screen sectors. BFI in partnership with BAFTA and would not otherwise be available, in consultation with organisations relating to the film industry and the In addition to publishing reports and including guilds, unions, industry tax relief supported screen sectors. statistical releases online, the RSU member bodies and key agencies as shares expertise, evidence and best well as employees and freelancers. A wide range of RSU data and practice through members of the From April 2018, a new Film and TV insight are published annually in Unit speaking and attending a variety Support Line from the Cinema and the Statistical Yearbook. Along with of industry events and supporting Television Benevolent Fund will be set 14 official statistics releases, the government and academic projects. up, free of charge for anyone working Yearbook forms an important source of This year, in collaboration with the in the film and television industry. information for the UK industry as well Arts Council, we supported the action as internationally. This data is used in research project ‘Cinegi’ designed We have incorporated the Principles a variety of reports published by the to test innovation in the digital and Guidance into our own BFI Diversity European Audiovisual Observatory and distribution of filmed media for public Standards to promote inclusion and other film institutes and public bodies exhibition as well as ‘Beyond the representation across the industry outside the UK. Multiplex’, an AHRC funded project and we are further planning to develop that seeks to understand how to enable a module on bullying and harassment The RSU supported the screen sector a wider audience to participate in a as part of the BFI Film Academy industry in its work around Brexit with more diverse film culture. curriculum from September 2019 a report covering The impact of leaving and into appropriate programmes the EU on the UK’s screen sectors. It also for schools through Into Film. commissioned a major study of the

58 59 FUNDRAISING Our LUMINOUS fundraising & PHILANTHROPY gala raised £460,000

The generosity of our many LUMINOUS also marked the launch year, from a number of generous supporters, whether they be charitable of BACK THE FUTURE – a year-long philanthropists. Of particular note, foundations, corporate partners or campaign to secure £1 million for BFI this year, Simon Hessel, one of the BFI’s individual donors, is at the heart of Education to demonstrate the impact first-ever donors, reached the milestone the BFI’s ability to achieve its mission. of film education and raise the profile of surpassing £1 million cumulatively With their help, 2017–18 was another of the BFI’s work with young people. given to our charitable work. This is successful year in which we exceeded This will enable us to deepen national an incredible individual contribution our fundraising target and secured £6.2 engagement with film – especially with and has enabled numerous critical BFI LUMINOUS Gala 2017 million in donations and gifts in kind. individuals who might not have such restorations at the BFI National opportunities easily available to them – Archive. We are especially thankful to Highlights of the year included our enrich learning, build practical skills Simon for his continued generosity. Our three year partnership with Esmée including the LUMA Foundation biennial LUMINOUS fundraising gala, and help young people understand and Fairbairn Foundation on Britain on Film towards Artists Moving Image work in partnership with IWC Schaffhausen. contribute to the world around them. The number of BFI Patrons and Film came to an end in 2018. The project and The Material World Foundation to Over 400 guests joined host Jonathan Forever Club members continues to has received an unprecedented 50 support Anoushka Shankar’s new score Ross, guest speaker Tilda Swinton, and BFI Festivals benefited from increased grow, providing both valuable financial million views online and transformed for the 2017 LFF Archive Gala screening a host of luminaries, including Tom sponsorship and philanthropic support support and a growing number of how people engage with archive film of Shiraz. Hiddleston, Sir Patrick Stewart, Hugh this year. American Express® continued passionate advocates for our work. The across the UK. The year also saw our Laurie, Tuppence Middleton, Michelle its incredible partnership with the BFI Patrons’ Gala at LFF and the year-round final donation from the Eric Anker- To grow our philanthropic presence Dockery, David Harewood, Romola London Film Festival and American programme of preview screenings and Petersen Charity as it wound down in the United States, in November we Garai, Stephen Fry and Baz Luhrmann Airlines returned as a Main Sponsor, special events enabled our individual its operations. The Charity has been hosted special screenings of the BFI to celebrate the past, present and alongside Royal Bank of Canada. We supporters to get even closer to the a major supporter of film restoration National Lottery backed Journey’s End future of British film. £460,000 net secured new funding for BFI Flare: BFI’s work. We are also hugely grateful since 1998. The David Lean Foundation (2018) in San Francisco and New York was raised on the night to support the London LGBTQ+ Film Festival from to those who joined the Patrons’ renewed its support with a significant with director Saul Dibb and stars Sam next generation of filmmakers and Pureland Foundation, which came Consortium, which funded two new gift to the BFI Trust to support Claflin and Paul Bettany. This was the audiences. The evening also saw the on board as Main Supporter for three awards for talented young filmmakers fundraising for the BFI National first time the Friends of The British second IWC Schaffhausen Filmmaker years, and from Sky as a BFI Flare at the BFI Future Film Festival as part Archive and its work. Film Institute, an independent, non- Bursary Award in association with the year-round supporter. LaCie joined us of the BACK THE FUTURE campaign. profit organisation which supports BFI go to Daniel Kokotajlo, the writer as Headline Partner of the BFI Future We also received significant support June 2017 saw the start of a two year our work, has raised funds in New and director of Apostasy (2017). Film Festival and helped us deliver through legacy gifts, with eight gifts partnership with The Mohamed York. These events, alongside renewed This £50,000 bursary is the most another exceptional industry event for left to the BFI totalling £750,000. In S. Farsi Foundation to support our support from The Film Foundation and significant award of its kind in the filmmakers aged 16–25. 2018–19 we will grow awareness of how Woman with a Movie Camera strand, Christopher Nolan & Emma Thomas, UK film industry and plays a vital role to support our work with a legacy gift which celebrates and promotes the contributed to another strong year for in nurturing outstanding UK talent. The BFI has been the grateful recipient and develop a Legacy Circle to thank representation of women in film. donations to the Friends of The British of significant gifts to support specific those who have already chosen to leave Across the year we also received Film Institute in 2017/18. projects and ambitions over the the BFI a gift in their will. grants from a number of new funders,

60 61 YOUR SUPPORT HELPS US SECURE

EPIC PATRONS Stephan Dilley Si Overson CORPORATE THE FUTURE OF Marisa Drew Anthony Pozner Paul Ashurst PARTNERS Gregory Barrow Louis Elson Matthew Pryor American Airlines Josh Berger, CBE Gavin Essex Phillip Reeves Audi BRITISH FILM Enrico & Cristiana Cavallo Susan & Robert Evans Lisa Reuben Valk Bloomberg Simeon Brown Anastasia Evko Sue & Tony Rosner Cineworld plc Kathleen Edwards Jeff & Emily Fergus Ruth Saleh Interbank LGBT Forum Eric Fellner, CBE Paola Ferretti-Johnson Michael & Gail Sandler IWC Schaffhausen The BFI warmly thanks the following organisations and individuals for their generous support in 2017–18 Isabelle Georgeaux Joachim Fleury Lisbeth Savill LaCie John Reiss Peter & Judith Foy Joana Schliemann Rakuten TV Jane Stanton Lizie Gower Jim & Linda Scholes Royal Bank of Canada GOVERNMENT ANNUAL DONORS PRS Foundation DIRECTORS The Stuart and Hilary Claude Green Nick Scudamore Shell The Department for Digital, British Board of Film Katrina Pavlos** CUT PATRONS Williams Foundation Kathryn Greig Angela Seay Sky Culture, Media & Sport Classification The Rose Foundation Eric Abraham Louis Greig Jonathan Sellars Warner Bros. Entertainment The Department for Dana and Albert R. Broccoli The Shoresh Charitable Trust Amanda Eliasch CLASSIC Dr Michael J. Hamlyn Anita Siassios Education Charitable Foundation** Colin Walsh and The Fox Family PATRONS David Hanson Andrew Smith IN-KIND Chapman Charitable Trust David Ederick** Heather & Greg Hogarth Khamran Ali Russell Howard Peter & Giuseppina Smith PARTNERS MAJOR DONORS The Charles Skey Charitable Wellcome Trust Keli Lee Adeem Altaf Valentina Jacome Nicola Stanhope Audemus Spirits Arts Council England Trust Lisbet Rausing & Claire Arnold Alexandra Joffe Gregory Stone & Barefoot Wine Philippe & Stephanie Camu The John S. Cohen FILM FOREVER Peter Baldwin Lady Bacardi Louise Jones Annabel Scarfe Beltane&Pop The David Lean Foundation Foundation CLUB Betsy Ryan** Francis Bennett Matthew & Jessica Justice Jan Taylor-Strong Christie Digital The Dr. Mortimer and Theresa The Daiwa Anglo-Japanese Donald & Corrine Brydon Jack Ryan** Nick Blackburn Adrian Kemp David & Jan Thomas Dalston Cola Sackler Foundation Foundation Philippe & Stephanie Camu Matt Spick Felicia Brocklebank Nicola Kerr Andrew Tseng Digital Cinema Media Esmée Fairbairn Foundation Europa Cinemas Caroline & Nick Clarry Peter & Nancy Thompson The Broughton Family Daan & Maggie Knottenbelt Amanda Vail Dolby The Eric Anker-Petersen Brian Hollins** Jeremy Coller Charitable Trust Ram Kumar Sajid Varda Fever-Tree Charity The Film Music Foundation** Greg Dyke & Sue Howes David Brownlie- Marshall Ken Lamb Louise L. Whitewright Green & Black’s Organic The Film Foundation** The Great Britain Sasakawa Keith Haviland * Friends of the British Film Rob Carrington Steven Larcombe Caroline Winter Groupe Renault UK Friends of the British Foundation The Hintze Family Institute is a California-based US Charles Cecil Lynn M. Lewis Andrea Wong ** Konditor & Cook Film Institute* The London School of English Charitable Foundation 501(c)(3) non-profit organisation John Chinegwundoh Laura Lonsdale Maltsmiths Simon W Hessel The London Topographical Gareth Hughes that supports the work of the Sammy Cooper-Smith Alison McCarthy Lord PRINCIPAL The Hospital Club LUMA Foundation Society John & Jennifer McLellan BFI in the UK and the US. EIN John & Kate Corcoran Phillippa Miles PARTNER BFI The House of St. Barnabas The Mohamed S. Farsi The Luigi and Laura Ian & Beth Mill 95-4334449. Alison Cornwell Dr. Katharine Miller LONDON FILM The May Fair Hotel Foundation Dallapiccola Foundation Col & Karen Needham Paul Craig Jackie Mountain FESTIVAL TV5Monde Christopher Nolan & The Material World Joyce & Simon Reuben ** Donations marked with double Carl Dalby Bill Mumford American Express® Emma Thomas** Foundation Tim & Sylvie Richards asterisk were made to Friends of Simon & Jane Davis Peter & Maggie With additional thanks Pureland Foundation The Michael Marks The Adam S Rubinson the British Film Institute. Matthew Dean Murray-Smith to all of our anonymous Charitable Trust Charitable Fund ** Jon Dear Amanda Nevill, CBE donors and patrons. The Monument Trust Sir Howard & Lady Stringer** Paul Dennis Lundi Nyoni

62 63 BFI INCOME & EXPENDITURE 2017–18 BFI GRANT-IN-AID, EARNED INCOME BFI AS A FUNDER BFI EXCLUDING LOTTERY & BFI AS A FUNDER AND PHILANTHROPY INCOME 2017–18* RING-FENCED GRANT IN AID EXPENDITURE 2017–18 INCOME 2017–18* EXPENDITURE 2017–18 £52.3m * £42.2m £44.2m £54.1m

4% 11% 13% 9% 18% 1% 3% 7% 33% 34% 6%

77% 48% 87% 48%

 AUDIENCES £34m  AUDIENCES £18.1m  GRANT-IN-AID – REVENUE & CAPITAL FUNDING £14.5m LEARNING & SKILLS £2.5m LEARNING & SKILLS £26m  SELF-GENERATED INCOME – CHARITABLE ACTIVITIES, INCLUDING TALENT £1.6m  TALENT £3.5m TICKET SALES, DVD SALES AND FILM DISTRIBUTION £20.1m  LOTTERY INCOME £45.7m  LEADERSHIP £0.3m  LEADERSHIP £0.6m  SELF-GENERATED INCOME – OTHER GRANTS & DONATIONS £7.6m  GRANT-IN-AID – RING-FENCED AWARDS £6.8m  COST OF DELIVERY £1.9m  COST OF DELIVERY £5.9m

* Total reported income of £96.9m includes £45.7m of lottery income, £6.6m of ring-fenced Grant-in-aid and £2.4m of ring-fenced additional capital Grant-in-Aid. * Excluding fixed asset depreciation and amortisation.

64 65 Supported by

Zama (Lucretia Martel, 2017) 66 67 21 Stephen Street London W1T 1LN @bfi bfi.org.uk