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We believe that film is central to our cultural life.

BFI Annual Review 2010/2011 2

Tamara Drewe (2010) 3

Contents

4 Chair’s Report 6 Director’s Report 11 2010-2011: The year at a glance 13 Long Live Film: Inspiring audiences everywhere 17 Paradise found: Missing Believed Wiped 18 Stepping out: The BFI Festivals 22 Restoration: The Great White Silence 24 Cinema Verité: BFI theatrical, DVD and publishing 26 The kids are alright: National and International Engagement 28 Moving images: The BFI Gallery 31 Remembrance of things past: The Nation rediscovers Boom Britain 32 Still breaking new records: BFI Southbank 34 The auteur, the continent, the cause: A diverse programme 36 To boldly go: Future Science 40 Supporting the BFI 42 BFI Patrons 46 Vital Statistics 48 Case Study 4

Statement from the Chair

The election of a new UK government in 2010 brought radical decisions that marked a turning point for the BFI and paved the way for a top to bottom review of film policy which for the first time in over a decade has the BFI as the lead body for film.

Having spent much of 2009-10 dealing with Government proposals that the BFI should “merge” with the UK Film Council, in July 2010 the new Government announced its intention to abolish the UK Film Council, the non-departmental public body that, for the last decade, had been our primary funder and was also responsible for distributing all Lottery film funds.

In November, the Government announced that it intended on 1 April 2011 to pass to the BFI responsibility for the distribution of Lottery film funds along with the majority of the UK Film Council’s activities, including funding partners around the UK, all delivering vital public services; hosting the MEDIA Desk and running the Certification Unit; inward investment; the Research and Statistics Unit and a number of other functions. We announced that 44 UK Film Council posts would transfer to the BFI in April, thus ensuring that these critical functions would transfer seamlessly.

In parallel, the BFI was hard at work preparing a response to anticipated cuts to public funding, a situation affecting almost every national cultural body. Whilst the cuts to the BFI were not as deep as to some other cultural institutions, our revenue 5

The Board is confident that we are making very strong progress and that we stand on the cusp of an exceptionally bright future, with the BFI now in a stronger position than at any time in the recent past.

funding was cut by 15% and our capital funding by even more. the organisation inexorably closer to achieving that. Work is A huge amount of Governor and management energy was progressing on integrating the activities transferred from the required to deal with these cuts at the same time as the transfer UKFC, and building a new organisation based on the very best of activities from the UKFC. The cuts came, of course, on top of a parts of both the BFI and the UKFC. The Board is confident that long period of standstill funding provided by the UKFC, a cut in we are making very strong progress and that we stand on the real terms year after year. cusp of an exceptionally bright future, with the BFI now in a stronger position than at any time in the recent past. We were determined to respond to these challenges in a bold and creative way, to take the opportunity to consider a wholesale Greg Dyke Chair, Board of Governors restructure of the BFI aligned with our long-term strategy rather than engaging in another round of damaging “salami slicing” across all areas. We proposed an ambitious digital modernisation strategy that would prioritise what we uniquely deliver and our audiences most value, and with efficient delivery, income growth and increased free public access to the BFI Collections at its heart.

It says much for the fundamental strength of the BFI that, with all this change and turbulence, core BFI activities performed very strongly over the year, with DVD and magazine sales easily outperforming the trends in some exceptionally difficult markets, and with record ticket sales recorded at BFI Southbank, BFI Imax and the BFI London Film Festival.

In last year’s report we wrote that the Board remained resolutely focussed on three things: delivering the best possible public services to the widest possible group of people; developing a clear vision of the sort of BFI we want in the future; and moving 6

Director’s Report

The year covered by this report will surely be remembered as one The pace of change throughout this period has been breathtaking of the most turbulent in the history of the BFI – it was surprising and I pay full credit to colleagues at the BFI – old and new – who and full of extremes. have worked so hard to ensure that we have not lost our footing and that the important functions which came across from the UK We began the year riding high on our major capital building plans Film Council have been seamlessly maintained. to make safe Britain’s rich screen heritage and to build an inspira- tional new Film Centre connecting audiences across the UK with Although having to put our planning for the Film Centre on hold an exciting and diverse programme of film. By the year end we had was greatly disappointing, our other major capital project – Screen faced up to a series of cuts in funding that not only brought the Heritage UK – has made significant forward strides. The building Film Centre planning to an abrupt and very frustrating halt, but of our brand new state of the art storage facility in Warwickshire is which also forced us to make radical changes to the very structure well underway and the mammoth task of cataloguing and present- of the BFI and to our core activities. At the same time the UK Film ing on a single database the collections held in the BFI National Council, the very body that had funded us for the past decade, was Archive and in regional archives across the UK almost finished. abolished by the incoming Government, with many of its core re- The project is scheduled to reach completion within the next 12 sponsibilities passing to the BFI. As we go into 2011/12 the BFI has months, on time and on budget. become the lead body for film and a Lottery distributor, readying itself to begin a new era for film. What has been most gratifying in this sea of change and uncer- tainty is that the BFI has continued to deliver a world-class cultural The decision to scale back or cut activities and prepare for staff programme for audiences and maintained its vital film and televi- reductions was tough, but necessary. We approached the chal- sion conservation work at the Archive. We achieved record audi- lenge with great resolve, embarking on a carefully considered ence numbers at BFI Southbank during the year as more and more programme of modeling and consulting with the entire workforce. people have come to immerse themselves in their passion for film. I am pleased to report that by involving staff in creative and open Particular highlights were Long Live Film – a celebration of the 75th discussion we were able to keep compulsory redundancies and the anniversary of the BFI National Archive – a complete retrospective cuts to our activities to a minimum. We were in perfect shape to of the work of Francois Truffaut; a season of South African cinema begin the new task of working with Government and the industry from the classic to the contemporary; a look at post-war British to radically rethink the film landscape in the UK. Documentaries in Boom Britain; and a deep exploration of the 7

As we go into 2011/12 the BFI has become the lead body for film and a Lottery distributor, readying itself to begin a new era for film.

interpretations and relationships between science and the moving enjoyed what the BFI has to offer through the year. image. This was topped off by a screening of Kubrick’s 2001: A Space Odyssey at the Royal Festival Hall with a live score performed by the Looking ahead to 2011/12 we have a unique opportunity to think London Philharmonia Orchestra. afresh, to consider the future needs of audiences and the industry, to really think about how we nurture talent and skills, how we can Once again the BFI’s Festivals didn’t disappoint on the thrill, as- give full rein to the influence of existing and emerging technolo- tuteness and invention in the programme line-ups this year. They gies, how we can encourage people to be more adventurous in their were rewarded with sell-out or near-capacity screenings of the best choices of film and how we can ensure that British talent and film in contemporary cinema from around the world and as audiences thrives internationally. came to rub shoulders with filmmaking talent. The BFI will be playing a critical part in this review of thinking and The BFI DVD label turned a spotlight on key British material held forming its own five year strategic plan based on what we learn in the archive with an outstanding collection of documentary films from all the feedback and ideas that come out of discussions with made by the COI between 1946-85; an impressive international the industry. Our aim is to work with the industry to make Britain archive collection of early Chaplin and restored versions of Caval- one of the most fertile environments for filmmaking in the world. canti’s They Made Me a Fugitive (1947) and Powell’s The Edge of the World (1937); and a newly launched children’s strand with Loach’s Amanda Nevill Director Black Jack (1979), two Famous Five adaptations and live-action Tin- tin stories from the 1960s.

Always full of surprises and ‘firsts’, the cultural breadth at the BFI seeks to push back the boundaries and reach new and diverse au- diences. So whether we are showing 60s TV dramas newly discov- ered after decades of being believed lost, throwing open our doors to over a thousand young people for the BFI Future Film Festival, or screening films in parks, galleries and live link ups to youth groups in Ghana, people of all ages, backgrounds and film tastes have 8

Black Swan (2010) 9

‘Always full of surprises and ‘firsts’, the cultural breadth at the BFI seeks to push back the boundaries and reach new and diverse audiences.’ 10 11

2010-2011: The year at a glance

12 million people interacted with the BFI online Over 1.1 million people watching the best British and international cinema in over 1,000 venues 500,000 admissions to films from the BFI collection in non-BFI UK venues 343,000 admissions to films from the BFI collection in overseas venues 61,000 admissions to BFI education screenings and events 228,000 copies of Sight & Sound sold 147,000 admissions to BFI Festivals 54,000 BFI books sold 41 titles released on DVD, on Blu-ray or in dual format 38,721 total BFI Mediatheque visitors 2010-11: UK wide 360,000 admissions to BFI Southbank cinemas 1.41million visitors to the BFI Southbank The King’s Speech (2010) 12

The Pleasure Garden (1925) 13

‘Rescue the Hitchcock 9 is a worldwide fund-raising initiative to support the urgent restoration of Hitchcock’s nine surviving silent films. The response has been extraordinary, but we have a high target to raise’

Long Live Film: Inspiring Audiences Everywhere

The BFI National Archive international press coverage as presenting the Dangerous for The BFI’s 75 Most Wanted turned 75 this year. To celebrate far and wide as Saudi Arabia, Beauty: Nitrate Film season, Films, a campaign to track we launched Long Live Film – a Japan and New Zealand. offering audiences an down missing films worthy series of screenings, events increasingly rare experience – of protection in the archive, and campaigns that not The campaign continues to to watch films projected onto including another Hitchcock only marked this important gain a pace and has recently the big screen from cellulose classic, The Mountain Eagle. birthday in some style, but will received its largest single nitrate prints whose stellar A cinema trailer with a voice- leave we hope a lasting and donation. The Film Foundation image quality is unfortunately over by acclaimed British substantial legacy. along with their chair, Martin matched only by extreme Director and Actor Kenneth Scorsese, is supporting the volatility. BFI Southbank is the Branagh launched the At the forefront of celebrations project, in partnership with only public cinema licensed to campaign. Alongside, a sell- was Rescue the Hitchcock 9, the Hollywood Foreign Press show nitrate film. Highlights out live presentation at BFI a worldwide fund-raising Association, to the generous of the season included Southbank was supported by initiative to support the urgent sum of $275,000. Gratefully Brighton Rock (1947) and Soviet a new website that helps users restoration of Hitchcock’s received, this money will go musical comedy Volga-Volga reconstruct a visual treasure nine surviving silent films towards the restoration of The (1938) which attracted large trail for each lost film. The on the 30th anniversary of Lodger, The Ring, Blackmail and audiences and favourable campaign has sparked lively his death. The response has The Pleasure Garden. comment about the lustrous interest that will lead we hope been extraordinary. Donations appearance of the prints. to many exciting rediscoveries have come in from around the In one of many celebratory across the UK and worldwide globe thanks to support from events, BFI Southbank marked We also took the opportunity and of course, a lasting the online community and the Archive’s birthday by to launch a national hunt film legacy. 14

Cleo from 9 to 5 (1962) 15 16

Colombe (1960) 17

‘The scale, quality and vintage of this find are unsurpassed… featuring major British actors including Sean Connery, Maggie Smith and Derek Jacobi, now available to view across the UK.’

Paradise found: Missing Believed Wiped

For the past 17 years, the neglected productions National Archive and the Shakespeare. The programmes BFI, along with the BBC, of Shakespeare. Library of Congress’s Packard will also be available to the ITV, and the classic TV fans’ Campus for Audio Visual broadcasters and rights organisation Kaleidoscope, has The scale, quality and vintage Conservation in Culpeper, holders for possible re- run Missing Believed Wiped – a of this find are unsurpassed. Virginia, digital copies were transmission or DVD release. campaign to locate and recover The titles formed part of a made from the original tapes television programmes from collection of 20, 000 items and extracts, unseen since the 1950s, 60s and 70s that donated to the Library of their first broadcast, were are known to be missing from Congress by the US National shown to much excitement the public and broadcasting Educational Television. at the annual Missing Believed archives. They had imported these Wiped screening at BFI British dramas for American Southbank in November. This year saw one of the audiences and most are TV A brand new Missing Believed most remarkable film archive versions of stage productions Wiped collection of this find discoveries ever made. or literary adaptations. BFI is now available free to view Sixty classic British dramas curators were delighted to find in the six BFI Mediatheques originally transmitted on BBC they featured major British across the UK. They reveal and ITV from 1957 to 1969 and actors including Sean Connery, a surprisingly high number amounting to over 100 hours Maggie Smith and Derek of female directors and pay of footage were rediscovered Jacobi. historical testament to the at the Library of Congress breadth and depth of 60s TV in Washington DC by a lone Through pioneering drama, from Henrik Ibsen researcher on the look out for cooperation between the BFI to Noel Coward and even Charley’s Aunt (1961)

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‘It was a stellar year for visiting talent with audiences enjoying onstage appearances from Julianne Moore, Colin Firth and Helena Bonham Carter to Michelle Williams and regular guest, George Clooney.’

Stepping out: The BFI festivals

The line-up for this year’s a glittering ceremony held this year’s Festival. with the screens and spaces BFI London Film Festival, in at London’s LSO St Luke’s The traditional Sutherland at BFI Southbank never busier partnership with American the jury headed by Patricia Award presented to the – cinemas were at almost 90% Express, showcased a world- Clarkson awarded Best Film director of the most original capacity. The festival opened class selection of UK and to How I Ended This Summer and imaginative feature with Greg Araki’s apocalyptic international films, with (2010) by Alexei Popogrebsky. debut in the Festival, went Kaboom (2010) with the director 197 features and 112 shorts, The Russian filmmaker was to Clio Barnard for The in attendance and highlights including Oscar winners The praised for his ‘stunning Arbour (2010), which Festival included a preview screening of King’s Speech (2010) and Darren cinematography’ and ‘painterly Director and chair of the jury Sarah Waters’ The Night Watch Aronofsky’s Black Swan(2010). attention to production detail Sandra Hebron praised as followed by the award-winning It was a stellar year for visiting and the intense and subtle ‘a brave and highly original author in conversation. In June talent with audiences enjoying performances drawn from debut with many levels of we were pleased to announce onstage appearances from actors Grigory Dobrygin and experimentation on show.’ that following a review, the Julianne Moore, Colin Firth Sergei Puskepalis.’ LLGFF will continue into its and Helena Bonham Carter, BFI Festivals also run the 26th year with new industry Hilary Swank, Keira Knightley Also awarded was the BFI BFI London Lesbian and services and an increase from and Carey Mulligan, Michelle Fellowship, the highest Gay Film Festival, which its six-day run. Williams and regular guest, accolade that the British this year celebrated its 25th George Clooney. Film Institute bestows, to the Anniversary. Although reduced inventive and popular UK to one week from its usual two The BFI London Film Festival director Danny Boyle for his due to the stringency imposed Awards returned for its second significant contribution to film. by a 15% cut in the BFI’s grant- year to celebrate the finest Boyle’s 127 Hours (2010) was in-aid, this was the strongest films within the festival. At the thrilling closing film for programme for some years, 19

Keira Knightley at the BFI LFF Opening Night Gala of Never Let Me Go (2010) 20

127 Hours (2010) 21

‘This was the strongest programme for some years, with the screens and spaces never busier - cinemas at almost 90% capacity.’ 22

‘BFI restoration staff returned to the original negatives, and with newly available digital technology, carefully transformed the material, image by image, into an exceptionally clear and sharp print.’

Restoration: The Great White Silence

Herbert Ponting’s remarkable Prompted by the approaching The screening, supported documentary of Captain Scott’s centenary of the Scott by Discovery, was a sell out 1910–1913 British Antarctic Expedition, BFI restoration triumph at the festival and Expedition, The Great White staff returned to the original made all the more memorable Silence (1924), is the only film negatives, and with newly for the evening’s live record of Captain Scott’s available digital technology, improvised accompaniment, infamous race to the South carefully transformed the played by the Elysian Quartet Pole. The BFI’s new restoration material, image by image, into and experimental composer is an astonishing visual an exceptionally clear and Simon Fisher Turner. account and pays testament to sharp print. the astute eye of expedition The Great White Silence was photographer Ponting. At the eagerly anticipated released in cinemas in early world premiere at the 54th BFI 2011 and is now available on On returning from the pole London Film Festival, details Blu-ray and DVD. after Scott’s death, Ponting once barely visible come to redirected his footage weaving new life and audiences could The restoration was supported in his own stills, maps, models even discern something of by the Eric Anker-Petersen and pictures, to respectfully the character of individual Charity. construct a story of the tragic members of the expedition. For events. All this material has Polar enthusiasts and a wider been stored at the BFI National public of all ages, The Great Archive since Ponting’s death. White Silence was a revelation. The Great White Silence (1924) 23 24

‘Over 1.1 million people watching the best of historical, international and British cinema in over 1,000 venues.’

Cinema Verité: BFI theatrical, DVD and publishing

The BFI continues to offer 260,000 units – up 10,000 two classic films by much- Robinson in Ruins would not have a wide choice of cinema to on last year. loved Ealing Studios and GPO gained UK distribution without national and international director Alberto Cavalcanti, the support, passion and out-of- audiences, a reach that makes BFI Distribution was Went the Day Well? (1942), and the-ordinary vision of the BFI. us the UK’s biggest distributor responsible for 15 nationwide They Made Me A Fugitive (1947) of cultural film, theatrically releases, bringing a range of (Funding provided by The We started a new strand of and on DVD. This year films classic, newly restored and Film Foundation), the latter publishing, re-printing classic from the BFI collections contemporary releases to premiered at the Edinburgh but out-of-print texts on attracted around 820,000 local UK cinemas. Highlights Film Festival before featuring Jean Luc Godard and Rouben theatrical admissions – two included The Big Sleep (1946) in a landmark retrospective of Mamoulian amongst others, thirds of which were in the UK. which was part of a major the director at BFI Southbank, and we published books on Unticketed events outside of BFI Southbank retrospective then touring up and the British film costume design, the the traditional cinema space of Hollywood studio director down the UK. use of colour in British cinema, (such as parks, galleries and Howard Hawks which screened and ‘Shadows of progress: festivals) accounted for an at 40 venues, Breakfast at In October, Robinson in Ruins Documentary Film in Post- additional UK audience of Tiffany’s (1961) which allowed a (2010), the eagerly awaited War Britain’, to tie in with the 343,475. Together our audience whole new audience to fall in return to feature filmmaking archival ‘Boom Britain’ season. figures amount to over 1.1 love with Audrey Hepburn (65 by Patrick Keiller, premiered at Offering context and new million people watching the venues), and Visconti’s the BFI London Film Festival writing on contemporary and best of historical, international The Leopard (1963) – a and screened at cinemas across classic cinema, Sight & Sound and British cinema in over 1,000 breathtaking digital restoration the UK. A cinematic social continued to hold steady in its venues. We also produced 41 that also screened at 65 venues. essay this was very much a sales and develop its online DVD or dual format releases As part of the Archive birthday specialised film release. Like presence in an increasingly with 302 films, selling over celebrations, the BFI restored many films we distribute, uncertain marketplace. Went the Day Well? (1942) 25

Gate fold images The Arbor (2010) Breakfast at Tiffany’s (1961) Toy Story 3 (2010) Uncle Boonme who can recall past lives (2010) Never Let Me Go (2010) 26

The kids are alright: National and international engagement

This was an exciting year of residencies for primary and wanted to share the benefits documentary providers and development for BFI Education secondary schools in Lambeth of the medium with 7–14 year exhibition networks. We are as we launched a number whose pupils for one term olds. This move was supported now able to offer bursaries for of innovative new projects and up to two days a week by a major research project we 14–19 year olds to visit film to enrich our established relocated to spaces in and conducted with the Institute festivals, meet their peers, and programme. These built on around BFI Southbank and the of Education into the impact of course make films that will our continuing engagement Southbank Centre. Many of of film on language learning, be seen throughout Europe. with families, young people these young people had not Reframing Language. Looking in education, students and visited the South Bank before, forward we have boosted our Meanwhile around 1,500 young teachers, young people in non- and over time gained a sense cinema events for this age people came to the 4th BFI educational environments, of ownership that we hope will group at BFI Southbank and Future Film Festival – the most local people, seniors and plant the seed for a growing will continue to build on this successful yet – with industry- culturally diverse groups, as and life-long relationship with rewarding and important work. led workshops and master well as other cinemagoers. this cultural quarter. classes, screenings of classic In particular, the family Future Film, our youth and new feature films, and outreach programme reached A further highlight was the strand, continued to go from annual awards for the best Durham, Southwark, Brighton, publication of Cine-minis, a strength to strength and we short films made by young Dorchester, Birmingham compilation of 12 short French were honoured to be chosen by directors. and schools in Harrow and films for children, with 150 the European Cultural Lambeth. web pages of support. Film- Foundation as the UK’s youth This November we hosted the rich learning has for some documentary network hub. third People’s Film Festival The South Bank Cultural time played an important This award came with €35,000 Youth Day, with around 500 Campus was a programme of part in ‘A’ level studies and we to build a community of youth people in attendance, live 27

The Kids Are Alright (2010)

link-ups to young people Cine-minis were produced ‘We hosted the third in South Africa and Ghana, with funding from the Evens a charitable opportunities Foundation; Reframing People’s Film Festival market place with live music Language with the support and talks, and a screening of of the Esmée Fairbairn Youth Day, with around Africa United with a Q+A with Foundation; the Cultural the film’s producer and young Campus was supported by Sir 500 people in attendance leading actress. John Cass’s Foundation; and Future Film was supported by and live link-ups to young The annual BFI Media Studies the Chapman Charitable Trust. Conference is still the biggest people in South Africa professional development event for Media Studies teachers, and this year and Ghana’ attracted 170 people across three days, to 40 workshops and to plenaries given by Peter Fincham of ITV, director Stephen Frears, Professor Christine Geraghty, and 25 other academics, industry figures, and teachers. 28 The Yvonne Rainer Project (2010)

Moving Images: The BFI Gallery year

The BFI Gallery has a deserved June opened with Mnemosyne library of the American artists exploring choreography international reputation at the (2010), a pioneering new film by Western to subtly question the for the camera. forefront of commissioning John Akomfrah that movingly ambitions of recent US foreign and exhibiting innovative explores themes of memory policy. The final BFI Gallery exhibition and exciting artists working and migration in the West was a playful return to the with the moving image. Since Midlands, weaving archival Next in residency was yet past created by Tate prize opening its doors in 2007 footage from 1960-1981 with another star of the American nominated Phil Collins. In audiences have enthusiastically contemporary portraits of art scene, Yvonne Rainer Phil Collins: Marxism Today taken up rare opportunities to Birmingham. The film is an with the first major European audiences encountered film, experience the work of world- innovative mix of documentary retrospective dedicated to this video and photographic class artists such as Pierre and poetic essay and was legendary American dancer, snapshots of life in the former Bismuth and Michel Gondry, described by Ken Russell, and choreographer and filmmaker. East Germany offset by the Mat Collishaw, Apichatpong experienced by visitors, as Very much a major influence illuminating recollections of Weerasethakul and Jane and ‘mind blowing’. on the new generation of video teachers of Marxism-Leninism Louise Wilson. makers and choreographers, who lived and worked in Following on in September Rainer’s work examines the the GDR. This year (although sadly with was Julian Rosefeldt’s American balance between the political its announced closure, the Night; a complex, five-channel and the private in everyday And the future? The Gallery Gallery’s last) was no exception film installation by the Berlin- life. The Yvonne Rainer Project was closed as part of the BFI’s with major new exhibitions based artist that confirmed (2010) featured three of Rainer’s review of all its activities and retrospectives from a his reputation for lavishly works accompanied by cinema following the Government’s diverse and gifted range of produced work in the moving screenings of her seven feature decision to cut our grant-in- artists, John Akomfrah, Julian image. American Night borrowed films and an engaging video aid by 15% over four years. Rosefeldt, Yvonne Rainer and from the style and rich image programme by contemporary However our commitment to Phil Collins. Mnemosyne (2010) 29

artists’ film and video and expanded cinema remains ‘The BFI’s commitment to artists’ film an important part of the BFI’s programme through our and video and expanded cinema remains cinemas, Mediatheque, DVDs and in Sight & Sound. an important part of the programme at the The space vacated by the BFI, through our cinemas, Mediatheque, Gallery will be redeveloped to house the BFI National DVDs and in Sight & Sound.’ Library in a more open, modern, free and accessible environment.

Meanwhile the legacy of the Gallery lives on in a new book BFI Gallery – Book 1 which was published in autumn 2010 to commemorate its remarkable The BFI Gallery and BFI Gallery Book were supported by achievements. 30

‘At the age of 87 and to the surprise of the director himself, John Krish was awarded the Evening Standard’s Best British Documentary for this once forgotten work.’

Shadows of Progress (1970) 31

Shellarama (1965) To Be a Woman (1951)

Remembrance of things past: The Nation rediscovers Boom Britain

Discovering and celebrating documentary historians. Sunday by the Sea (1953) and John Krish’s A Day in the Life: non-fiction filmmaking in the Although hugely popular Bow Bells (1954) and Dickson’s Four Portraits of Postwar Britain, post-war era, Boom Britain and watched by millions startlingly contemporary was a particular success. is one of the most ambitious worldwide at the time, treatment of industrial To the delight of enthusiastic projects ever undertaken by directing figures such as relations, The Film That Never cinemagoers and, at the the BFI. Through a rigorous Paul Dickson, John Krish, Was (1967). age of 87 to the surprise of reappraisal and restoration Sarah Erulkar and Anthony the director himself, John of the work of major postwar Simmons were subsequently A comprehensive overview of Krish was awarded the documentary filmmakers, a mostly forgotten through a the period has been captured Evening Standard’s Best British major BFI Southbank retro- lack of access to their work. in the BFI’s critically acclaimed Documentary for this spective, DVDs and a book, as BFI archive staff set about Shadows of Progress: Documentary once-forgotten work. well as a national tour of the redressing this neglect of Film in Post-War Britain which evocative films of John Krish, crucial British film history, comprises a four-disc DVD Without Boom Britain and the Boom Britain aimed to rewrite, restoring a staggering 47 new containing 32 complete films dedicated work of BFI staff, and in some cases write from 35mm prints from the period along with a companion 430- Krish and the films of many of scratch, British film history. as well as producing 35 new page book. The whole project his contemporarieswould have High Definition Video Masters was supported by collections faded into obscurity. Beyond the Free Cinema to enable DVD encoding and launched on BFI Screenonline movement that launched the digital screenings. Highlights and through BFI Mediatheques, These restorations were career of Lindsay Anderson of the BFI Southbank season bringing these important his- supported by the Esmée and Tony Richardson, the and subsequent tour were torical and cultural films to as Fairbairn Foundation and the 1950s to the 1970s have Simmon’s cheerful music-hall wide an audience as possible Eric Anker-Petersen Charity. been barely explored by film portraits of London Eastenders across the UK. 32

‘Audiences of all ages come to the BFI to be entertained and inspired, but also to learn.’

Still breaking new records: BFI Southbank

BFI Southbank set new box achievement when set against Audiences of all ages come third of them British. The office records this year when the fact that the total number to BFI Southbank to be best performing seasons in cinema attendances topped of cinema seats has only been entertained and inspired but terms of average takings per 300,000 for the first time increased by 3% between 2005 also to learn. 31,000 learners performance were the Anime ever. With more than 50,000 and 2011, from 749 to 772. of all ages participated in Festival, Audrey Hepburn additional tickets sold for our in-venue education and onedotzero: Adventures the BFI London Film Festival Generated income was up 7% programmes including many in Motion Festival, closely and BFI London Lesbian and on the previous year and up young people based in the followed by the François Gay Film Festival screenings 42% on the highest annual local boroughs of Lambeth and Truffaut retrospective and and events, this amounted cinemas revenue. Average Southwark. But our education Birds Eye View Festival. The to a total of nearly 360,000 audience occupancy was programmes also had national best performing extended runs admissions – the highest figure 45%, up 3% on the previous reach. We staged many and were Breakfast at Tiffany’s, ever achieved in the history of year and considerably higher regular events, conferences The Big Sleep and The Leopard. the venue. than occupancy levels at and professional development What is more, 70% of all the majority of UK cultural projects for teachers, students extended run income came Cinema admissions for and commercial cinemas. and informal learners from from BFI distribution titles. 2010/ 11 were up 11% on the Overall income from cultural, across the UK (for more BUG, Family Fundays and previous year, 13% on the commercial and hire activities information, see page 26). The Flipside were our ‘strand’ year before and 25% on the was almost £3.5m, up 5% on performers, which all illustrate highest numbers ever achieved the previous year. And there BFI Southbank also presented both the depth and range of (when the venue operated as were 1.41m visits to the venue 49 cinema seasons, 21 programme and audiences at the National Film Theatre in overall, up 1% on last year. extended film runs and staged BFI Southbank. 2004–05). This is a remarkable 78 film and TV previews, a In the Shadow of the Moon (2007) 33

The Big Blue (1988) 34

‘Young people from over 25 different countries of origin came together to curate the season, lead discussion and host creative workshops.’

The auteur, the continent, the cause: A diverse programme

The BFI is passionate about location and introducing his his family for the first time latter was in partnership with celebrating and rediscovering signature jump cuts. The two- in two years, but encounters Refugee Action and Brightwide classic film history and month season celebrated the two racist white punks. Film and hosted by Channel 4 bringing greater prominence to director’s immense creative director Robert Davies was newscaster Samira Ahmed. under-represented voices and output in two parts, focusing in attendance. The South African Cinema debate, and opening a window on his earlier and later career, season was kindly supported onto rarely seen work. with events and courses run by Following on in June was by the South African High the BFI Education team offering Refuge in Films; a three-day Commission in London and François Truffaut (1932–1984) fascinating and rich cultural festival at BFI Southbank MNET Sales (African Film is one of the most influential context. marking Refugee Week. The Library) in Johannesburg. directors in film history and in event was produced by young recognition the BFI presented In April and May 2010, we Londoners from over 25 a complete retrospective of shifted continents and different countries of origin, his films, accompanied by presented the South African who come together as Refugee nationwide releases of his Cinema season showing films Youth and New Generation, classic titles Silken Skin (La peau from South Africa’s Apartheid to curate the season, lead douce, 1964) and Day for Night era and from new South discussion and host creative (La nuit américane, 1973) in African cinema. A highlight workshops. The festival new prints. was the first screening in over presented the UK premiere 20 years of the groundbreaking of Lixin Fan’s award-winning Truffaut, one of the key and controversial Saturday documentary Last Train directors of the French New Night at the Palace (1987), the Home (2009) and a revelatory Wave, revolutionised the story of a black waiter who discussion on the reality and filming process by shooting on is trying to get home to see portrayal of exile in film. The 35

Silken Skin (La peau douce, 1964) 36 2001: A Space Odyssey (1968) 2001: A Space Odyssey (1968) 37

‘Future Science led audiences towards imagined utopias and dystopias to engage with one of humanity’s most compelling preoccupations: how will we evolve?’

.To boldly go: Future Science

To celebrate the 350th London Philharmonia Orchestra Shelly’s Frankenstein (1931) and anniversary of the Royal and Philharmonia Voices and François Truffaut’s L’Enfant Society, the UK’s academy of conducted by André de Ridder. Sauvage (1970) as well as a science, the BFI joined the Royal Working closely with Warner nostalgic and moving evening Society and the Southbank Bros and the Kubrick family, with astronomer Patrick Moore, Centre in a pioneering the BFI had obtained a music celebrating the much-loved TV collaboration. Two parallel free version of the film suitable programme The Sky at Night. seasons, the BFI Southbank’s for the event and de Ridder’s Film Science and the meticulous musical direction Part two of the season, Invasion of the Body Snatchers (1956) Southbank Centre’s See Further: recreated Kubrick’s musical Future Human led audiences The Festival of Science + Arts score frame by frame. towards imagined utopias and were curated to showcase the dystopias to engage with one very best in science, film and BFI Southbank’s Film Science of humanity’s most compelling music. Together they were season went on to explore preoccupations: how will we launched at a unique event at the relationship between evolve? Iconic films offered a The Royal Festival Hall. For the science and film and television, delicious variety of responses first time ever, anywhere in the examining how scientists, their such as Don Siegel’s classic world, a screening of Stanley work - and often troubling Invasion of the Body Snatchers Kubrick’s science fiction classic results, have been depicted on (1956), Andrei Tarkovskiy’s more 2001: A Space Odyssey (1968) was screen. Highlights included existential Solaris (1972) and accompanied by a rousing live screenings of James Whale’s Woody Allen’s farce soundtrack, performed by the classic adaptation of Mary Sleeper (1972). 38

How I Ended This Summer (2010) 39 40

‘Our most successful Festival yet was attended by over 130,000 people and gave American Express Cardmembers access to some of the best in New World Cinema.’

Supporting the BFI

It is the BFI’s mission to keep The landmark, multi-year Express Cardmembers access the breadth of voices in moving partnership between American to some of the best in New image culture alive and known; Express and BFI was built on a World Cinema. to extend and transform mutual history of supporting choice; to innovate access. the best in film from around In addition to the Festival Much of what we do would not the world, and is an important partnership, American Express be possible without the support cornerstone of American also supports the BFI’s year- of our Patrons, individual Express’ strategy of providing round cultural programme. donors, corporate sponsors their Cardmembers with Sponsorship of screenings and trusts and foundations. special access to memorable at the BFI IMAX and the Matt Lucas introducing his Screen Epiphany Singing in the Rain In addition, we benefit experiences across a broad acclaimed Screen Epiphanies significantly from in-kind and range of entertainment series at BFI Southbank, in media partners, gifts in wills, categories. which personalities from the public sector grant-making world of stage and screen, bodies and cultural partners. American Express began its such as Mike Leigh, Gurinder This combined support totals major support of the BFI in Chadha, Richard Curtis over £3 million and is essential October 2010 by becoming and Matt Lucas, introduce to the realisation of many the Principal Sponsor of and discuss films that of our ambitious and broad the 54th BFI London Film inspired them personally or programmes and projects. We Festival, the first year of a professionally. continue to seek to expand three-year partnership. Our our network of support to help most successful Festival yet consolidate our current work was attended by over 130,000 and develop in the future. people and gave American 41 42

‘Patrons benefit from a tailored package of exclusive events and behind the-scenes access to experts and special guests throughout the year that really takes them to the heart of the BFI.’

BFI Patrons

BFI Patrons are at the heart The African Queen and The Shop in the magnificent Piazza of the BFI. They provide Around the Corner. Patrons have Maggiore. All Patrons were invaluable philanthropic access to onstage interviews able to make the most of 54th support to the BFI’s core with filmmakers and stars BFI London Film Festival with charitable work at the same that included Joan Collins and priority booking enabling them time as enjoying a unique Anjelica Huston. Director’s to get ahead of the queues relationship with the best Cut Patrons were able to join and an invitation to join us at of the BFI. The tailor-made us for the BFI events at the the Centrepiece Gala for the event programme draws on Cannes Film Festival in May, premiere of Mike Leigh’s Another the expertise of the BFI’s and one of the highlights of Year. Director’s Cut Patrons The African Queen (1951) curators and film industry the year, attended an evening also mingled with the stars at connections, as well as the with Colin Firth at the BFI’s the Opening and Closing Night excellence to be found in our annual Chairman’s Dinner, Galas of the Festival. BFI Southbank programme, which also included a sneak the London Film Festival and peek of The King’s Speech, For more information on how our Archive collections. months before its release. Patron support can make a difference, please contact In the last year, Patrons On our first-ever Patrons Claire Alfrey, Individual Giving enjoyed a wide range of trip in June, a group of key Manager on +44 (0)20 7815 1400 events, from advance previews supporters enjoyed the magic or email [email protected]. of Tamara Drewe, Black of Bologna’s archive film Swan and Biutiful to special festival, as we watched The screenings of classics such as Leopard on an outdoor screen The Shop Around the Corner (1940) 43 44

Colin Firth, Helena Bonham Carter and Geoffrey Rush at the LFF gala premiere of The King’s Speech (2010)

PUBLIC SECTOR SUPPORTERS TRUSTS AND FOUNDATIONS The BFI would like to thank DCMS The Eric Anker-Petersen the following individuals and UK Film Council Charity Sir John Cass’s Foundation organisations for their generous Arts Council England The Chandris Foundation Europa Cinemas The Chapman Charitable Trust support in 2010/11: Film London The City Bridge Trust Heritage Lottery Fund Community Union London Development Agency The Evens Foundation Mayor of London Esmée Fairbairn Foundation The National Lottery The Film Foundation Skillset The Great Britain Sasakawa Foundation The Japan Foundation The David Lean Foundation The Reuben Foundation The Rose Foundation

The Philip and Irene Toll Gage Foundation The Worshipful Company of Shipwrights 45

INDIVIDUAL SUPPORTERS Classic Patrons Gregory Stone and MOFILM James Dalton Wayne Anderson Annabel Scarfe Play.com Shivendra Singh Dungarpur Francis Bennett Boris Veselinovich Samsung Simon W. Hessel Nick Blackburn Susan Warren Shell International Ian & Beth Mill Carl Dalby The Stuart and Hilary Williams Swarovski Matt Spick Charles Diamond Foundation TV5Monde Peter & Nancy Thompson Sarah and Louis Elson Dr & Mrs Michael Ziff Venice Simplon-Orient-Express Estate of Bernard Quinn Mr & Mrs Jeff Fergus Windows 7 Estate of Ron Shedlo Peter & Judith Foy And thank you to all our And thank you to all our Paul Gambaccini anonymous Patrons IN-KIND PARTNERS anonymous donors Mike Gordon Christie Louis Greig CORPORATE PARTNERS Green & Black’s DIRECTOR’S CUT PATRONS Stephen Kirk Accenture The Hospital Club Eric Abraham Amanda Nevill American Airlines Icelandic Glacial Amanda Eliasch Katrina Pavlos American Express Jameson Fares & Tania Fares John Reiss Aviva Konditor & Cook Simon W. Hessel Joyce Reuben Cañada Blanch Centre M.A.C. Ian & Beth Mill Philip & Sarah Richards Discovery Channel The May Fair Hotel Sue & Tony Rosner Embassy of Spain NH Hoteles Epic Patrons Michael Sandler IBM UK Renault Eric Fellner Joana Schliemann Instituto Cervantes Singha Beer Lynn M. Lewis Sherwyn Spencer The Interbank LGBT Forum Soho House Carol Sellars ITV Stella Artois 46 Vital Statistics

24.0 Total earned in income (excludes Gifts in Kind) Cash Total BFI Summary 22.0 of longer-term 20.0 financial Real Total performance: 18.0 (Adjusted for inflation) 16.0

14.0

Self-generated 12.0 operating 10.0 income trend: 8.0 In 2010/11 6.0 we achieved our 4.0

net fundraising 2.0 target of £1.6 million 0.0

2005/06 2006/07 2007/08 2008/09 2009/10 2010/11

The real value of the BFI’s revenue 22.0 Grant in Aid, £m 20.0

18.0

16.0 Cash value of Grant in Aid 14.0 less inflation

12.0 less cost of pension 10.0 Real value of Grant in Aid 8.0

6.0

4.0

2.0

0.0

2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 Brighton Rock (1947) 47 bfi.org.uk

The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street, London W1T 1LN

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