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Bfi-Annual-Review-2018-2019.Pdf OUR The BFI is the UK’s lead organisation for MISSION film, television and the moving image. & VA LUES The BFI is the distributor of National BFI2022 is our five-year plan which In carrying out our duties, Lottery funds for film. Founded in builds on Film Forever, our previous we undertake to: 1933, it is a registered cultural charity strategy. Its focus is on the future and governed by Royal Charter, that: it will help shape the BFI’s next chapter – Consider the views of the industry, for film, television, animation and our audiences and our partners – Curates and presents the greatest the moving image more widely as we – Be efficient, effective and accessible international public programme of embrace the fast-evolving technological – Be honest, open and accountable World Cinema for audiences; in creative arena and post-EU exit world. for our actions cinemas, at festivals and online – Provide clear and appropriate – Cares for the BFI National Archive – The strategy is arranged in four information, guidance and feedback the most significant film and sections: – Share and learn best practice in order television archive in the world to continually improve the services – Actively seeks out and supports the – Future audiences on offer. next generation of filmmakers – Future learning and skills – Works with Government and industry – Future talent to make the UK the most creatively – Leadership exciting and prosperous place to make film internationally. 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 the whole of the UK. Front cover: Dirty God (Sacha Polak, 2019) This page: Mari (Georgia Parris, 2018) 3 CONTENTS 12 24 46 42 FOREWORD PROGRAMMING PARTNERSHIPS OPENING DOORS SOME KEY FUNDRAISING PAGE 6 AT BFI SOUTHBANK ACROSS THE UK INTO THE WORLD BFI-BACKED TITLES & PHILANTHROPY & ACROSS THE UK PAGE 26 OF FILM PAGE 46 PAGE 58 FUTURE PAGE 16 PAGE 38 AUDIENCES COLLECTIONS & UK-WIDE ACTIVITIES ON THE BFI INCOME PAGE 8 CINEMA AUDIENCES PAGE 30 A CHAMPION INTERNATIONAL & EXPENDITURE AROUND THE WORLD FOR TALENT STAGE PAGE 64 FESTIVALS PAGE 22 MOVING IMAGE PAGE 42 PAGE 50 PAGE 12 HERITAGE FOR GROWING AUDIENCES EVERYONE SUPPORTING THE LEADERSHIP ACROSS THE UK PAGE 32 FUTURE SUCCESS & ADVOCACY PAGE 24 OF UK FILM PAGE 52 PAGE 44 4 5 from slapstick silents to sharp satire, a post-Brexit world. It is increasingly Film is of vital economic and cultural FOREWORD and onstage appearances by an array evident that the huge success of the UK importance to the UK, but we also of contemporary talent to cast reunions as a production and storytelling global recognise that the current high levels of hit shows such as The Real McCoy. powerhouse is utterly dependent on the of production expenditure are not richness of the talent that is developed spread equally across the UK. We have Film, TV and the moving image are The BFI’s main focus is to supercharge to further enchant the people of Britain Nowhere is our commitment to new here by an independent filmmaking increasingly sought to devolve decision- flourishing in the UK and are an the ecosystem, to open doors and to with their own heritage. voices and international exposure tradition, which in recent years has taken making away from London, which this international success story of creative, create opportunity by seeking out and more evident than in the BFI London the critical world by storm. Films such as year was boosted with the launch of the cultural and commercial significance. encouraging new creative talent, working Our rich cultural programme draws Film Festival (LFF). One of the biggest 45 Years; The Souvenir; Colette; Wild Rose and BFI-run Young Audience Content Fund The vibrancy of the sector is achieved in partnership across the UK to pique the heavily from the BFI National Archive challenges we face every year is how to The Boy Who Harnessed the Wind have all based in Manchester, and the recruitment because of an ecosystem that has been curiosity and embolden film watchers and connects filmmakers and audiences present an international festival of the played in international festivals through of new film executives based in our Film built up over decades of sustained in cinemas and online. Through our with the history and contemporary scale that we aspire to in a city without the year, with Pawel Pawlikowski winning Audience Network partner organisations support from public and private cultural programme, the BFI National development of world cinema. We aim a fitting festival venue such as can be the Best Director award at Cannes for his across the UK, further strengthening investment, allowing the sector to Archive shares the riches of its holdings to challenge perspectives, re-present found in Cannes, Berlin, Toronto or LA. film Cold War. these bases as economic creative centres. sustain growth and thrive creatively. with filmmakers and audiences, inspiring forgotten works, excite audiences and Nevertheless, the LFF shone again this It is an environment much coveted future generations and making sure inspire filmmakers with new discoveries, year with a sustained growth in audience The UK has become the hub around While Brexit has dominated much of internationally and proven to be ripe for that the distinctive and special creative as well as celebrate the classics. numbers, attracted by a programme which the creative globe rotates – a our sector work with the Government, attracting global investment. endeavours of today are preserved and brimming with the most critically screen sector that is worth £7.9b in we have been working closely with protected to inspire future generations. Our cultural programme is in demand acclaimed new films from across the GVA. Screen Business, our recent report Ministers, officials, industry and The BFI sits right at the heart of this around the world and this year a world. Traditionally many of the films on the economic benefit of each of the European partners to help secure the ecosystem and this review charts The BFI National Archive is one of the ground-breaking, digitised collection selected for the coveted Gala spots screen sector tax reliefs, demonstrated best possible outcome for the screen progress against our five year strategy UK’s 17 designated national collections of films from our archive – India on Film, became the ones to watch during the the net value to the Exchequer of these industries and enable us to sustain our designed to make sure that the UK and it holds the world’s greatest 1899–1947 – included some of the earliest award season, including The Favourite, incentives. The sustained value of the close working relationship with the EU. remains the most exciting place in the collection of film and television from moving images of India, many unseen for Wild Rose and Beautiful Boy. Government‘s committment to this fiscal world to enjoy film and do business. the rarest examples of silent Victorian decades. One of the restored films, Shiraz: support cannot be underestimated and it Financially it has been a testing year for film to the most famous such as the A Romance of India (Franz Osten, 1928), The LFF is a critical, cross-BFI moment is a vital component of the economically the BFI. Looking to the future we remain Whilst the sector is excitingly buoyant, works of Alfred Hitchcock, right up to the played to more than 6,000 people at the for attracting sponsors, patrons, rewarding ecosystem. Meanwhile the concerned that our ability to support the it is also experiencing a sustained contemporary and including a new focus BFI London Film Festival and in venues members and commercial partners disruptive funding model for independent creatives working in the broader screen period of upheaval as it adapts to on emerging formats and technology. across the UK, and to over 7,000 people whose support is the mainstay of film is putting extreme stress on the arena, across immersive, interactive and contemporary audience expectations of as it toured across India. This success delivering cultural programmes, the sector and the BFI will be looking at games is unable to match the need. new and different film, television and By their very nature, film and television reminds us again that there is nothing Festival itself and education activities ways of working with Government to other moving image content available archive collections are fragile and soft about so-called ‘soft’ power. Cultural upon which the growth of the industry make sure that this period of global With the screen sector primed for on a variety of platforms and screens. unstable – without constant attention exchange initiates conversations, shows depends. We were very pleased to turbulence doesn’t undermine the bigger sustained economic growth driven by All of this is challenging the tried and they degrade over the years. Six years real intent to collaborate as partners, and see that in spite of a challenging picture. Every industry needs its R&D, creative excellence and innovation, we tested economic models. Paradoxically, ago we embarked on a long-term opens the door for trade discussion in a environment for fundraising and and film, television and the moving are acutely aware that the work of the whilst we live in a time where content programme to select film material way that is hard to beat. commercial partners, the international image are no exception. BFI is more critical than ever. really is king, the bedrock of distinctive to preserve and digitise for mass nature of the Festival was pivotal in storytelling and filmmaking talent - the enjoyment. In just three years this Our Woman with a Movie Camera Summit achieving our year round targets.
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