Annual report and accounts 2018

British Board of Film Classification Annual Report and Accounts

1 January 2018 – 31 December 2018

Presented to Parliament pursuant to Section 6(2) of the Video Recordings Act 1984 © British Board of Film Classification 2019

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British Board of Film Classification, 3 Soho Square, London W1D 3ED bbfc.co.uk Contents

President’s introduction 4 Chief Executive’s report 6 Accountability 8 Ratings info and resources 9 Feedback from the public 10 Education outreach 12 Age-verification 13 Non-statutory content 14 Enforcement 15 Research 16 U Universal 17 PG Parental Guidance 21 12A Cinema 12 Home Ent 25 15 31 18 37 R18 41 Video games and associated media 42 Unclassified content 42 Legal issues 43 Statistics 44 Video Appeals Committee 48 Consultative Council 48 Advisory Panel on Children’s Viewing 49 Business review 2018 50 Strategic report 51 Directors’ report 52 Accounts 55 Photographic credits 71 President’s introduction

The classification of cinema and physical home entertainment content remains at the heart of what we do. However, as more viewing shifts online, there is increasing public demand for a trusted guide to help people choose content that is right for them and their families and avoid content that is not. The strongest demand comes from teenagers, who are the most avid viewers of films and series online. We sought the views of over 1,000 teenagers during a major public consultation we carried out in 2018. Ninety five percent of them told us that they wanted consistent age ratings online and offline. They want, and need, the same ratings that exist in cinemas and on DVDs to apply on VOD platforms. It is our duty to meet Patrick Swaffer - this demand. President

So, once again in 2018 child online Government in 2018. In this area, can be filtered or have parental safety and protection has been a the BBFC draws on expert advice in controls linked to it major area of concern for us. order to do this, for example working • establishing and regulating age- in partnership with the Samaritans, verification beyond pornography, Bringing offline protections online on assessing risk around depictions including on a granular level, of suicide. to help online media platforms Since 2008, the BBFC has been at enforce their own terms and the forefront of working to promote In partnership with other regulators conditions initiatives that help bring offline and with industry during 2018, we protections online, in accordance continued to develop new, scalable BBFC designated as Age- with public expectations. These classification methods that are able verification Regulator voluntary initiatives have proved to bring offline protections online. positive, contributing to child For example, the BBFC’s You Rate It In February 2018, the BBFC was protection in the online space. The tool (YouRI), developed in partnership designated as the Age-verification BBFC now rates content for release with the Dutch regulator NICAM and Regulator under the Digital Economy on online platforms, including with cooperation from colleagues in Act 2017 because of our expertise Netflix and Amazon. We are also the Italy and Ireland, is able to provide online and in relation to adult content regulator for the UK’s mobile age ratings for user-generated content. By the end of the year, networks, ensuring that over the content (UGC) on online video- following a public consultation, last five years hundreds of millions sharing platform services through a our Guidance on Age-verification of websites are filtered according to simple questionnaire, designed to be Arrangements and Ancillary BBFC standards. completed by those uploading videos Service Providers was approved onto a platform, or by the crowd, by Parliament. This guidance will This broad objective of offline and or by both. It can then potentially ensure that robust age-verification online parity of protection was also be linked to parental controls and standards will have to be met by reflected in the Government’s formal could assist the Government’s online commercial pornographic Response to its Consultation on the determination to make social media, services. It is a considerable step Internet Safety Strategy, published in in particular, safer for children online. forward, which will not only stop May. We fully support the objectives Looking forward, the BBFC will young children from stumbling across set out by Government in this space. remain committed to working content on adult websites, but also with others – Government, fellow support the educational efforts which Both offline and online, the BBFC regulators, industry, children’s have an important role to play in has unparalleled experience in charities – to contribute to helping also protecting children in the online considering questions of harmful achieve the objective of making space. content for minors. For example, the internet a safer place for British the BBFC’s regulatory experience children. Two specific areas where The BBFC continues to work closely in taking account of mental health the BBFC is principally well-skilled with other organisations whose issues relating to young and and able to contribute include: primary aims are the protection and vulnerable people in its classification • defining and assessing age- education of children. In particular decisions across websites and other inappropriate, potentially harmful with the children’s charities sector, audio-visual material is second and illegal content and ensuring meeting collectively to ensure our to none and was highlighted by that such content is labelled and shared objectives are aligned and

4 President’s introduction to update on age-verification and over 1,200 parents of children aged an end. I want to express my thanks the Digital Economy Act. A focus 3-17 who use VOD services and to them both for their support, hard on age verification in other areas nearly 600 children aged 10-17 who work and the insight and good sense has already been highlighted by use VOD services. It also surveyed they brought to the classification of children’s charities, as a potentially 800 parents of children aged 3-7 and difficult material. During their time important contributing factor to nearly 450 children aged 10-17 who at the BBFC they have overseen better protect children online. say they buy online games. and actively encouraged the development of our work to protect In 2018, we also worked closely with Although the response from industry children and provide families with the PSHE Association, developing, demonstrated a commitment to trusted advice. This is reflected and achieving accreditation for, a provide the type of information that particularly in our online regulatory Key Stage 2 educational resource their customers require, it is clear partnerships and our designation as which has been sent to well over that more can be done, with the the Age-verification Regulator. 500 schools since it was launched. public survey highlighting a demand Beyond this, the BBFC’s dedicated for greater coverage of age ratings I should like to welcome as our new Education Team spoke to almost online and for those age ratings to Vice Presidents Murphy Cobbing and 10,000 people, primarily children come from a recognised and trusted Lord Kamlesh Patel. Their combined and young people and their teachers source. In particular, almost 80% of skills and experience mean that the from across the UK to help guide parents are concerned about children BBFC will continue to be provided children in particular to make viewing seeing inappropriate content on VOD with the support and expertise choices that are right for them. 60% platforms, 89% of parents believe needed to effectively carry out its of our audience during 2018 were VOD content should always carry important work and develop new secondary age, 25% primary, 7% age ratings, 92% of parents think it is and innovative models to support University, 3% adult public and 1% important for VOD platforms to show initiatives to ensure child online filmmakers, with adults working the same type of ratings they would safety and protection. in the UK film industry and home expect at the cinema or on DVD/ educated children making up the Blu-ray, and 94% of parents think it’s rest. This face-to-face contact important to have consistent ratings is in addition to the significant across all VOD platforms, rather than educational resources we provide a variety of bespoke systems. The online. parallel survey about online games painted a similar picture. These Age labelling and parental controls figures were very close indeed to the online findings of the BBFC’s Classification Guidelines, which David discusses in In July 2018, the Minister for Digital his report. and the Creative Industries, Margot James MP, commissioned the BBFC In response to these findings, and and our colleagues at the Video as we go into 2019, the BBFC and Standards Council (VSC) to look at VSC will work with Government to the current state of age labelling provide industry with best-practice and parental controls online for recommendations for voluntary age Lord Kamlesh Patel - Vice President video and video game content. We labelling and parental controls to and the VSC were asked to identify allow services to work with both areas for improvement that would bodies towards more consistent better meet the Government’s key application of age labelling between commitment of making the UK online and offline content. The the safest place in the world for Minister, Margot James, has joined users to be online, in particular by calls for consistent BBFC age protecting young people and the labelling to be used across all VOD vulnerable. As part of this process, services. The BBFC will continue to the BBFC and the VSC sought work with industry to support these evidence of what users of VOD objectives and, at Government’s services and online games platforms request, review industry’s progress. say they need in order to have the confidence to make informed Hails and Farewells choices for their families. The BBFC and the VSC commissioned joint It has been a year of significant quantitative research to find out the change in the Presidential team. Murphy Cobbing - Vice President latest thinking from parents about age labelling and parental controls Alison Hastings and Gerard Lemos, where video-on-demand (VOD) my Vice Presidents since I was and video game content is made appointed, have both stepped down, available. The research surveyed their period of office having come to

5 Chief Executive’s report

I am delighted to present the 2018 BBFC Annual Report and Accounts.

In a fast evolving media landscape, the BBFC’s core mission continues to be to help families and young people choose films, videos and websites that are right for them. Whenever, wherever and however they view them. Whether they are viewing content at the cinema, on DVD, on streaming platforms or on websites.

Across 2018 we have built on the work of previous years, and developed new initiatives that we will take into 2019, including by making a significant contribution to Government’s objective of making the UK the safest place for children to be online.

Asking people across the UK what David Austin - they need Chief Executive

In order to ensure that we are able to fulfil our mission, we need public around 1,700 users of the BBFC’s in the range of content available trust. How we classify content must website and app. In total, over 10,000 online has many positive benefits be in line with what people expect. people contributed to the research for consumers, the inconsistent that resulted in the publication of manner in which ratings are currently So, every four to five years through new Classification Guidelines in being used and displayed on a large-scale consultation, we speak January 2019. many online platforms is leading to to around 10,000 people, adults and confusion and concern about what teenagers, across the length and The research not only looked at viewers, and children in particular, breadth of the UK. We ask them how attitudes towards individual decisions might encounter when they use a they want us to classify issues such made by the BBFC but also at what downloading or streaming service. as violence, discrimination, self harm, people are watching, how and where While many sections of the industry suicide and sex in films and videos they’re watching it, and what kinds of have made significant steps towards and on websites. We then turn what information they need to help them increasing the display of trusted people tell us into Classification make informed viewing decisions for and recognised ratings, we look Guidelines that reflect the needs and their families. forward to working closely with VOD expectations of UK viewers. providers during 2019 to find cost Reassuringly, 97% of the public effective and practical methods of During 2018, we carried out our believe audiences benefit from increasing coverage of BBFC ratings most recent consultation, our fifth in having age ratings, 83% of parents and providing their customers with 20 years. We ran 32 focus groups trust BBFC ratings all or most of the the information they need. across the UK, including in Scotland, time and 92% of film viewers agree Wales and Northern Ireland. Those with the age ratings of films they It was reassuring to learn that, focus groups saw parents and have seen recently. Over nine in 10 in nearly every case, viewers teenagers discussing the films that people recognise and understand are content with the existing had generated the most feedback the BBFC’s main age ratings from Classification Guidelines and with to the BBFC over the previous five U to 18. But what the research the decisions we make using them. years, as well as films that had raised also highlights is the shift towards Nonetheless, it became evident challenging or unusual classification downloading and streaming as the during the 2018 research that there issues. The films considered ranged main mode of film viewing. For many is heightened public concern about across the classification categories, people, this shift is making it more sexual violence, an area the BBFC from Minions to Fifty Shades of challenging for audiences to find the already approaches with far greater Grey. We also conducted over 5,000 recognised and trusted BBFC ratings caution than many other ratings online interviews with the general they expect. 91% of people say it’s bodies. People told us that sexual public, nearly 2,000 face-to-face important to have the same kind of violence should have its own section interviews with regular film viewers, age ratings online that they would within the Guidelines, rather than and 1,000 interviews with teenagers. expect to see at the cinema or on being dealt with under ‘Violence’. We additionally invited feedback from DVD, with that figure rising to 95% People also told us that the stronger among teenagers. While the increase forms of sexual violence, including

6 Chief Executive’s report rape, should not be shown at all at This will be the greatest single to see it. The requirements under the 12A/12 and should only be shown transformation of the BBFC’s systems Digital Economy Act will stop young at 15 provided the depiction is not in our history. It is a multi-million- children inadvertently stumbling detailed or prolonged. People also pound project. We will fund it entirely across pornographic websites and told us that any sexual threat or from our reserves. We will not pass will contribute significantly to making abusive behaviour must be brief at any of the costs on to our customers. the UK a safer place for children to 12A/12 and should not be strong or During 2015-2017 in particular we be online. sustained at 15. We have adjusted the generated an operating surplus to Guidelines to reflect these clear and invest directly in this ambitious and We have worked closely with widespread public concerns. transformational project that will the age-verification industry to offer real and significant benefit to ensure clear understanding of the While sexual violence was industry. requirements under our Guidance undoubtedly the stand-out on Age-verification Arrangements. issue that arose during the 2018 During 2018 we invested £473,000 in Working with industry we have consultation, there were also this project. This sizable investment seen new solutions that will provide concerns about the manner in which has had a considerable impact on consumers with choice while pornographic references have crept our Statement of Comprehensive maintaining a robust age-verification into mainstream culture and how Income account during the year. We check to protect children. We have appropriate this is for viewers below anticipate a loss in 2019 as a result of seen costs substantially reduced to 18. The new Guidelines make it clear even greater investment in what is a help remove potential barriers to that frequent crude sex references, vital and hugely exciting project. adoption. particularly those that borrow from pornography, will not be permissible In parallel with this project, providing Working with Government and the below 18. By contrast, focus groups an efficient service to industry Information Commissioner’s Office, endorsed our approach of treating remained a key priority for the and a third party auditor, we are scenes of violence and threat less BBFC during 2018. I am pleased to developing the Age-verification restrictively where the context is report that the year saw us deliver Certificate for age-verification fantastical, unreal or where it would record low turnaround times to our providers. This scheme will hold be expected because of the genre customers. Video turnaround time, age-verification providers to high of the film - for example in a Bond from receipt of submission to delivery standards on privacy and data or Bourne film. However, violence of the category decision, averaged security and help ensure that should be treated more restrictively 6.2 calendar days. This is 22.5% consumers will be able to use age- where it occurs in a recognisable lower than the eight-day business verification online with confidence. real world setting that makes viewers target. Similarly, film turnaround was We will be rolling out the certification think “this could happen to me”. The 1.3 calendar days, 57% below the function in 2019 before the law focus groups also endorsed the less three-day business target. comes into force. Although it is a restrictive approach to strong nudity voluntary certification, all the known at 15 that we have been operating Regulation of online commercial providers of age-verification services since the previous public consultation pornography to protect children to the online adult industry have told and endorsed the changes we made from harmful content us that they will seek to secure the to our policy on strong and very certificate. strong language in trailers at the 15 Patrick refers to The Digital level. Economy Act 2017 in his President’s We have worked closely with the Introduction. In February we were adult industry to make sure they Building technology infrastructure designated the Age-verification understand what their obligations for a fast and efficient service to Regulator under Part 3 of this ground are under the new law, and I am industry breaking child protection legislation. optimistic that we will see high levels of compliance. Where we find non- In last year’s report, I highlighted the The Digital Economy Act requires compliance, Parliament has given us work we began in 2017 to transform online commercial pornographic effective tools to address breaches our existing technology infrastructure services, no matter where in the of the new law. These include and systems to ensure the most world they are based, to carry asking payment service providers to effective, efficient and reliable controls which mean it is not withdraw their services from non- service to all our customers. As a normally possible for children to compliant companies and requiring result of the work we carried out access commercial pornographic Internet Service Providers to block during 2018, we remain on course content. In practice, this means that non-compliant websites altogether. not only to deliver a quicker, more commercial adult websites and apps user-friendly service to our broad will have to carry effective age- This new law will come into force customer base, but also to develop verification controls. We know from in 2019. The eyes of the world are new tools, including machine learning research which has been carried watching to see the impact that and AI, to best serve industry in the out in the UK that young children it has. Concern about children interests of providing consumers, are most commonly first exposed to accessing pornography online, and and parents in particular, with the age pornography online without intending the potential harms which come from ratings they trust.

7 Chief Executive’s report this exposure, are not unique to the This content carries BBFC age ratings their UK platforms. This may be by UK. Consequently, we do not expect and ratings info. However, we and means of other self-rating tools that to be the only country taking positive Netflix are committed to achieving the BBFC is developing and testing steps to address the problem. I 100% coverage of BBFC ratings and with industry. know that age-verification for online advice across the Netflix platform. pornography will have a real, positive This is not where the BBFC’s impact and help make children safer In 2019, the BBFC and Netflix will innovation and forward-looking online. launch a pilot that will ultimately attitude ends. We continue to evolve permit Netflix to self-rate films our You Rate It tool for crowd- I believe that age-verification and series under licence from sourced ratings for user-generated has wider benefits in the online the BBFC. We will set the content on video-sharing platforms. space as well. We are supporting classification standards, enshrined In 2019 we will have an updated the Government’s Internet in our Classification Guidelines and version for industry to trial, making Safety Strategy, and are working incorporated into algorithms created it possible to provide ratings for the with Government, by helping by Netflix. Netflix will identify any vast amounts of content produced on understanding of age-verification issues present in the film or series, platforms catering to user-generated arrangements and the possibilities and generate BBFC ratings and content. that this innovative industry can bring ratings information. We will audit to, for example, the social media Netflix’s work to ensure that BBFC I am immensely proud of the work environment. standards are being accurately my team is doing here at the BBFC. maintained. Innovations such as our partnership Broadening presence of BBFC with Netflix demonstrate how we classifications online By partnering with Netflix in this way, can find solutions in a fast-changing UK consumers will benefit from a media landscape, to ensure that the Building on the VOD work single, trusted set of classifications UK public, and parents in particular, Patrick refers to in his President’s and ratings symbols across the benefit from a trusted guide that introduction, one example of what entirety of the UK’s biggest streaming provides well-understood content best practice could look like is the service. We hope that others will ratings to help them choose well and BBFC’s on going collaboration with follow Netflix’s lead and provide to make the online space safer for Netflix. During 2018, we classified comprehensive, trusted, well our children. around 60% of Netflix’s UK platform understood age ratings and ratings (including all Netflix Original content). info, consistent with film and DVD, on

Accountability

We are accountable to both the All our previous Annual Reports are ratings info. This is an essential public and Parliament. We take available on our website and placed element of our function and this accountability seriously. This in the libraries of both Houses of accountability. We publish this Annual Report is a key part of our Parliament. information on our websites and fulfilment of this requirement and free app. This vital service means provides a review of our activities We provide people, especially that parents, children, families and and classification decisions during parents, with detailed and accessible individuals can view what’s right for 2018 as well as information about our information about the films and them, at the cinema, online and at financial position as required by law. videos we classify, which we call home.

8 Ratings info and resources

Helping viewers make informed children (cbbfc.co.uk). We publish accredited by the PSHE Association, decisions ratings info specifically tailored to the lesson plans help pupils develop younger audiences for films classified the tools to make the best choices Our first priority is to help children at U, PG and 12A. about what to watch, when and and families choose well. We where. publish detailed information about In order to reflect how people the content we classify, which we watch and consume content more We are also setting the standards call ratings info. It’s a helpful guide, broadly, we are extending the use for how the adult industry will particularly for parents, that gives a of our trusted age ratings beyond age-verify people accessing online summary of how and why we gave our statutory responsibilities for pornography, helping protect children a film or video its age rating. Ratings classifying films shown in UK cinemas from this potentially harmful content info appears on the black card shown and released on DVD and Blu-ray. online as well as offline. on the cinema screen before a film This includes classifying for VoD starts. You will also see it on film services and music videos online, Working closely with the film and posters, listings and DVD packaging, as well as helping Mobile Network digital industries and with educators and on some video-on-demand (VoD) Operators set parental controls at the and organisations dedicated to services, such as Netflix. We publish right level. children’s welfare, we are continually a longer, fuller version on our website evolving the guidance we offer, and app. In 2018 the BBFC education team and are increasingly able to make a launched our first primary school bigger difference in helping everyone Families can engage younger resource, Let’s Watch a Film! Making – children, families and adults – children in the decision-making choices about what to watch. choose well. process by using our website for Aimed at Key Stage 2 learners, and

9 Feedback from the public

Public feedback is important to us the rabbits and the owner of a were all worded identically and were and we respond to every email vegetable garden. The pelting with clearly part of an organised online and letter we receive. Feedback fruit is simply one of the ploys the campaign. helps shape the large-scale rabbits use in order to overcome public consultations carried out at their nemesis in response to his Show Dogs is classified PG. It is an each review of our Classification attempts to trap them, electrocute action comedy in which a police Guidelines. them, drown them and blow them up. Rottweiler goes undercover at a dog show. As part of the operation In 2018 we received 364 complaints A Northern Soul is a British he is required to let the judges covering 101 films and 67 complaints documentary in which a man inspect his genitals in a manner that covering 24 trailers. The majority of attempts to make a positive impact is not uncommon in dog shows. these were from people who had on the lives of children in his The character is reluctant but is attended the cinema or viewed films community by touring with a hip encouraged to go to his ‘happy at home. However, we also received hop bus. We classified the film 15 place’ to get through the experience. a number of complaints inspired because of around 20 uses of strong by news reports, online blogs and language. Thirty-one people wrote in to us organised campaigns. echoing claims made in blogs that While the language in the film is not the scene might lower children’s Red Sparrow attracted 64 used aggressively or sexually, our resistance to predators who wish to complaints. All correspondents felt research suggests that a significant inappropriately touch them. However, that we should have classified the proportion of parents are concerned the scene is comic, innocent and film at 18 instead of 15 because of about the normalisation of such non-sexual in nature and occurs elements of violence and sexual language in films. The language in within the fantastical context of a film violence in the film. During post- A Northern Soul, is used casually about anthropomorphised canines. production we advised the film in conversations, across a relatively In a similar vein to Peter Rabbit the company that an 18 was likely short feature (75 minutes), with no complaints regarding Show Dogs but that they could achieve their particular justification. predominantly stopped once the film preferred 15 by making reductions had been released in cinemas. in one scene of strong sadistic and Three people wrote to us sexual violence. The film company complaining about the 15 rating for We received 18 complaints about made reductions and we classified A Northern Soul feeling a 12A would a PG-rated trailer for the filmLove, the film 15. There are also some be more appropriate. We received Simon. The trailer covers teenage scenes of sexual violence. In 45 postcards protesting the 15 rating; relationships and features some each case characters interrupt or however, these had been created implied kissing and references to prevent the attack, beating or killing and handed out to cinema goers being in love. All complainants took the assailant. Given the lack of by the filmmakers at screenings issue with the discussion of sex aggravating factors such as strong and do not provide an accurate and teenage relationships in the nudity and eroticisation in these representation of broad public trailer but 11 took particular issue scenes, they are permissible at 15. opinion. with the fact that the character is gay, believing the depiction of gay Fifty people contacted us about Kaala is a Tamil-language drama relationships to be inappropriate at Peter Rabbit, a film featuring which we classified 12A. 43 people the PG level. animated rabbits and based on the emailed us to complain about the stories of Beatrix Potter. Four people film’s release. The complaints were We apply BBFC guidelines to the complained about violence and not about the rating of the film same standard regardless of sexual upsetting scenes but the majority itself but seemed to object to the orientation and so classified the complained about a scene in which actions of the film makers. They trailer PG. the rabbits pelt their adversary, an adult man, with fruit in order to defend themselves from his attack and provoke an allergic reaction. Complainants felt that this was 1 Red Sparrow unacceptable at PG because it (15) might be emulated by children. We received complaints about the allergic reaction before the film was released in the UK in response to press coverage that started in the US. We received no complaints about this scene after the film was released.

The scene in question does not feature any bullying but is instead 1 part of an ongoing battle between

10 Feedback from the public

take place within the virtual reality world of the film where the characters’ real-world counterparts suffer no lasting harm. AlthoughThe Shining is rated 15, in the science fiction context ofReady Player One, which features robots and alien creatures, we could permit this brief section of moderate horror at 12A.

Jurassic World: Fallen Kingdom received six complaints, chiefly regarding very young children being brought to the 12A screenings.

Six people complained about Venom, which is rated 15. Complainants were disappointed they or their children would be unable to see 2 the film. Horror sequences include alien organisms entering people’s bodies, causing their limbs to distort Ready Player One received ten 1989 and at 12A since we introduced and their bones to crack. While we complaints with correspondents that rating in 2002 and so the use of do allow some gory moments at focusing on infrequent strong strong language is well precedented 12A, the moments of ‘body horror’ in language at 12A and some moments and within the guidelines at 12A. Venom are too strong for 12A and we of horror. We have permitted There are also moments of horror classified it 15. infrequent strong language at 12 reconstructing scenes and characters since we introduced the rating in from The Shining. These moments

2 Venom (15)

3 Ready Player One (12A)

3

11 Education outreach

In 2018 we launched an engagement strategy making ‘choosing well’ and positive choices around viewing the focus of all our education work. Other priorities include ensuring our education resources are relevant and easily available and that our goals of being on the side of children, Uxbridge, Preston, Warwick, One of our largest education young people and their parents, and Daventry, Guildford, Hackney, Cardiff, audiences was at the EST Media Live! working closely with education and Belfast, Bognor, Edinburgh, Leicester, Conference in Paris where we spoke industry partners, are met. Stirling, Swansea and Truro working to students from 16 UK colleges. Like with BFI Film Academies. We also many of our audiences, they were Working with the PSHE Association, made a return visit to the Evelina keen to talk about public feedback we created an accredited primary Children’s Hospital School in London. on age ratings, working in media school resource. Aimed at Key Stage and regulation, and representation 2, the free lesson plans, entitled Our Head of Education visited Dublin in films. Let’s watch a film! Making choices in May, presenting at a full-day event about what to watch, encourage with the Irish Film Classification New audiences included over resilience by exploring how and Office. Alongside comparing 280 teachers at the PSHE annual why we have rules and regulations, classification standards and history conferences in London and Leeds, how age ratings work and where in both countries, it was a useful sharing insights into children’s media to find them, and how children opportunity to swap creative best consumption, and teachers at the navigate media entertainment at practice for student engagement. London Connected Learning Centre, home, in cinema, and particularly where we led a session on online online. More than 500 UK schools We delivered 46 in-house seminars regulation including VoD titles and have downloaded it so far. Teachers and 3 Skype sessions from our Soho music videos. We also attended a described the lessons as engaging, offices. Overall, 60% of our audience university symposium in Warwick on pacy and interactive, saying they will are secondary school pupils, 25% the children’s film,Watership Down. help develop pupils’ risk-assessment, primary school pupils, 7% university decision-making and assertiveness students, 3% adult public and 1% film Our Head of Education featured in skills and help them to share makers, with adults working in the a film for the V&A Museum’s special strategies for dealing with pressure UK film industry and home-educated exhibition ‘Censored! Stage, Screen, to ‘watch material they are unsure of’. children making up the rest. Society at 50’, which ran from July 2018. A targeted marketing campaign to During the 2018 Into Film Festival primary school head teachers and we gave 22 talks (in 19 locations) We work with teachers to ensure our PSHE leads allowed us to promote speaking to large audiences about resources reflect areas of interest our other children’s BBFC resources, films and age ratings, as well as and study. We published case studies including our website for children, hosting seminars on Marvel films, on exam texts I, Daniel Blake and CBBFC, creating an uplift in demand. documentaries and horror cinema. Straight Outta Compton, as well We produced a short film to play as the often-referenced Human Talking directly to children, teenagers in front of all festival screenings, Centipede films. We also wrote a and adults remained fundamental emphasising our role in helping detailed resource on the high-profile to our outreach work and in 2018 audiences choose what’s right Netflix series13 Reasons Why, we spoke to 9,986 people. Most of for them whatever, wherever and uploaded to coincide with the release these were face-to-face meetings, however they watch. of the second series, after questions and included 145 education sessions, from teenagers, parents and teachers 95 of which were external visits. We We also worked with Into Film’s about the strong depictions of travelled the length and breadth of nationwide Youth Advisory Council, suicide and the scenes of sexual the UK including Wigan, Norwich, feeding their views into the planning violence. Folkestone, Southampton, Harrow, stages of the guidelines consultation. Our student survey is now in its eighth iteration and in 2018 we also 1 13 Reasons surveyed teachers who attended Why (18) our education events. Of those that use our resources, 63% use our case studies, 37% the student guide and 47% the classroom poster. 100% told us they show clips from online sources in class and most (68%) would appreciate more guidance on age ratings and suitability for material available online. All would 1 recommend our seminars to other teachers.

12 Age-verification

The UK Government introduced the responses, we made a number of the regime and on any improvements Digital Economy Act 2017 (DEA) as changes to our guidance, including and technological changes. part of their commitment to make clarification on a number of technical the UK the safest place for children points on age-verification standards We are also working with the age- to be online. This groundbreaking and to our approach to ASPs. The verification industry to ensure that piece of child protection legislation Guidance was laid in Parliament in viable and effective means of age- will mean that all online commercial October 2018, and debated and verifying UK consumers are available pornography services, chiefly approved by Parliament in December to the adult industry and acceptable websites and Apps, accessible in 2018. to the public. To encourage good the UK are required to carry age- practice and high standards of verification controls to prevent If we find an online commercial privacy and data security, in 2019 we children from accessing or stumbling pornographic service fails to carry the will launch a voluntary, non-statutory across pornographic content. The necessary age-verification controls, BBFC certification scheme for age- Act also gives the BBFC the power or carries extreme pornography verification providers. The scheme to block sites that make extreme as defined by the Criminal Justice has support from the age-verification pornography, as defined by the and Immigration Act 2008, we will industry, the Department for Digital, Criminal Justice and Immigration take enforcement action against it. Culture, Media and Sport and the Act 2008, available in the UK. The Under the DEA, we have a range of Information Commissioner’s Office. Government will decide a date for enforcement powers including: We appointed cyber security firm entry into force in 2019. NCC Group to design the framework • requesting ASPs (those businesses for the voluntary BBFC certification In February 2018, the UK Government who facilitate and support access scheme and carry out the first appointed us as the Age-verification to the pornographic service) to assessments of age-verification Regulator under Part 3 of the DEA withdraw their services. This might providers. Age-verification providers because of our experience in online include search engines, such as which pass the NCC assessment will regulation and our expertise in Google, social media platforms, then be awarded a certification by us. classifying pornographic content. such as Twitter and Facebook, and advertisers. We look forward to the introduction Our research demonstrates that the • requesting Payment Service of this new regime in 2019 which new regime will have a significant Providers (PSPs), such as will, without any doubt, improve child child protection impact. In November MasterCard and Visa, to withdraw protection from potentially harmful 2018, we surveyed 200 of the most their services. If an online service material online. visited adult websites and found 82% does business using MasterCard offered no form of barrier to prevent and Visa, then we can enforce the access by under 18s. Of those that withdrawal of services on a global did, 89% allowed age confirmation scale. with just the click of a button, e.g. ‘I • requiring Internet Service Providers am over 18 years old’. None of the (ISPs) (both home broadband and sites surveyed would be compliant mobile) to block access to those with the DEA, which requires services that do not carry age- robust age-verification controls. We verification controls or that carry carried out research with YouGov extreme pornography. in December 2018 which showed that 88% of parents with children We are working with children’s aged 7-17 agree that there should charities, ASPs, PSPs and ISPs to be robust age-verification controls ensure that the regime is effective to prevent children from accessing and proportionate. We have also pornography online. engaged with the adult industry to explain the new age-verification As the Age-verification Regulator we requirements and enforcement are required to produce Guidance powers and we are confident of a on Age-verification Arrangements high level of compliance. and Guidance on Ancillary Service Providers (ASPs). We held a public In our role as the Age-verification consultation on both pieces of Regulator we have a responsibility draft guidance in April and May to continue to conduct research to 2018. There were 624 responses in measure the effectiveness of the total: 584 from individuals and 40 new regime and identify any changes from organisations. We received a in behaviour. We also have an number of supportive responses obligation to report to the Secretary from the age-verification industry of State for Digital, Culture, Media and children’s charities including the and Sport within 12-18 months of NSPCC, Barnardo’s and the PSHE entry into force on the effectiveness Association. After analysing the and impact of the implementation of

13 Non-statutory content: trusted and understood age ratings however people view content

Since our inception in 1912, we have Viewing habits continue to change, subscription VoD platforms such as worked with industry to provide with a significant shift away from Netflix and Amazon Prime Video, to rating services to help children and DVD, Blu-ray and traditional popular transactional services for families choose content that is right scheduled television broadcasts in buying and renting film and episodic for them. the living room, to on-the-go viewing content, including iTunes Store, of on-demand content and catch-up Google Play, Rakuten TV and our This work continues, and it now TV on smartphones and tablets. newest licensee, Sky Store. spans a variety of content consumed outside of the realm of cinema and Our Digital Video Service Licensing We also continue to offer voluntary packaged media with which we Scheme continues to support classification services to help the are traditionally associated. This this shift by offering VoD services industry make its ratings available includes the classification of feature a formal mechanism to use any for the large volumes of content that and episodic content for use on VoD existing BBFC home entertainment now bypass traditional cinema and services, age ratings to allow users classification on their service. This packaged media release, instead of YouTube and Vevo to understand allows the UK public to make viewing premiering online. the suitability of UK music videos, decisions based on the same and providing frameworks for the UK classification standards they are used Our flexible and cost-effective Mobile Network Operators (MNOs) to to when they go to the cinema or buy Watch & Rate classification product ensure their customers can control a DVD or Blu-ray. allows services such as Amazon the strength of material they, and Prime Video to make original their children, have access to. In 2018, the scheme enables anyone episodic content such as Jack Ryan, offering professional digital video Homecoming, The Grand Tour and Helping video-on-demand services content to use BBFC age ratings and The Marvelous Mrs Maisel available use our age ratings ratings info, and provided services to to their customers with trusted age ensure that the correct age ratings ratings. All Netflix Originals, from 2018 marked ten years since we are displayed, as well as advice on 2018’s Bird Box, Roma and You began to work with the home how to implement age labelling and to the interactive Black Mirror: entertainment industry to extend parental controls effectively. Bandersnatch, also carry BBFC the use of our trusted statutory ratings upon release. classifications for packaged media to In 2018 we licensed 24 different burgeoning VoD services. services, ranging from leading

1 Black Mirror: Bandersnatch (15)

1

14 Non-statutory content: trusted and understood age ratings however people view content

The demand for original content on Examples of requests for Providing age ratings for UK music services such as these drove the adjudications came from: websites videos total amount of content viewed by offering burlesque lessons; websites us to grow by 3.6% in 2018, to just selling Cannabidol products; an The voluntary classification initiatives under 12,500 hours. This comprises online fashion retailer selling outdoor detailed in this section, and other 5,533 titles viewed for an online-only headwear; a political blog; a further content throughout our Annual age rating, an increase of 55.2%. education website; and a forum for Report, broadly exist to help parents The success of this voluntary age an air rifle club. In all these cases, easily navigate the fast changing and rating service, now in its eighth year, we found no content which we complex digital landscape with their demonstrates the value that content determined to be suitable for adults children. We also work with the music owners and video platforms hold in only. MNOs removed filters from industry to allow UK-signed artists to helping their customers to choose these sites. make their music videos available on content safely. YouTube and Vevo with trusted BBFC We found that nine of the websites age ratings. Mobile Network Operators we were asked to adjudicate on were correctly placed behind adult filters. In 2018 Vevo mostly closed its During 2018, on a best-practice, These included: a digital archive standalone services, but it lives on as voluntary basis, we continued to which featured explicit images of a brand accompanying most artists’ regulate commercial and internet sexual activity, in a website which official channels on YouTube. During content delivered by the UK’s MNOs retailed products intended to help 2018 we classified 51 new release under our Classification Framework, consumers test illegal drugs for music videos for online use. Although which defines content unsuitable for purity; and a website belonging down from a peak of 101 in 2015, the customers under the age of 18. In to a far-right group that includes number was equal to those classified addition, we maintain an additional discriminatory attitudes to religious in 2017. We classified no music Classification Framework specifically groups. The MNOs maintained filters videos submitted in the last twelve for EE network customers, who wish on these sites. months at the PG or 18 categories. to set filter levels to ‘Strict’. This We passed two at U, 24 at 12, and 25 Framework outlines content that is We also considered the 34 at 15. unsuitable for children under the age adjudications under the EE ‘Strict’ of 12 and is based on our guidelines Classification Framework. We Participation in this scheme remains for PG. To ensure that the system considered nine to be unsuitable voluntary for the music labels, and is accountable and transparent, we for children under the age of 12 on we continue to evolve our services offer a free appeals procedure that the grounds of strong language, to make it as easy as possible for is open to all, the results of which we violent content, strong sex the music industry to support the publish in full every quarter on our references (including references to classification of online music videos. website. pornography), and other suggestive We will continue to work with material. EE maintained or imposed Government and to engage with In 2018, we adjudicated on 34 filters on the nine sites. record labels both in the UK and websites. These requests came from the US to promote the scheme and website owners, members of the encourage take-up. public and the MNOs themselves.

Enforcement

The Video Recordings Act 1984 Standards Officers and the police by Standards Institute symposium. This requires that each video title supplied providing Certificates of Evidence in promoted our services and provided on DVD, Blu-ray or any other physical respect of seized films. In 2018, we the opportunity to discuss a range format in the UK be classified by provided evidence on 72 titles. In of matters with Trading Standards the BBFC, unless it is exempt from June, we hosted an exhibition stand Officers and other stakeholders. classification. We assist Trading at the annual Chartered Trading

15 Research

In 2018, we undertook our fifth large- Key findings from our guidelines emphasis on their fear and distress, scale public consultation exercise research include: 97% of the general an emphasis on the pleasure of the into our Classification Guidelines. public believe audiences benefit from attacker, or where the depiction is The consultation ensures that having age ratings; 91% of the public prolonged, detailed or gratuitous. the guidelines, which inform our and 95% of teenagers, specifically, classification decisions, continue to say it is important to have consistent People are also concerned about reflect public opinion. age ratings on online platforms; over particularly crude sex references 90% of people recognise each of our at 15 especially where they borrow Covering nearly the whole of 2018, age rating symbols; 83% of parents language or visuals commonly the consultation included both trust BBFC ratings ‘all or most’ of the encountered in pornography. qualitative and quantitative phases. time; 92% of film viewers agree with We listened to 32 focus groups, the age ratings of films they have The research also confirmed that including teenagers, which took seen recently. viewers are less concerned by the place across the UK, in Scotland, presentation of issues in contexts Wales, Northern Ireland and England. Sexual violence is the main concern that are divorced from reality than for all audiences surveyed. There is they are by the presentation of issues We conducted over 5,000 interviews a clear view that the stronger forms in realistic or relatable contexts. online, nearly 2,000 face-to-face of sexual violence, including rape, Accordingly, they support the interviews with regular film viewers should not be depicted at 12A/12. At classification of Bond and Bourne and more than 1,000 interviews 15 depictions of the strongest forms films at 12A, where choreographed with teenagers, and we received of sexual violence should be neither action violence is seen as both over 1,700 responses to a survey detailed nor prolonged. Sexual threat fantastical and expected, but are on our website. In total, over 10,000 was also a concern. At 12A it should more cautious about the presentation people contributed to our research. be brief. At 15, sexual threat should of issues such as suicide and self- Their views inform the new BBFC not be strong or sustained. Where harm that they felt ‘could happen to Classification Guidelines which will sexual violence occurs in a credible me’. be in use from the end of February real-world setting, the concern 2019. is heightened. The same is true The new guidelines and full report where there is a focus on the victim are available on our website. being overpowered, or a strong

1 Batti Gul Meter Chalu (PG)

2 Hotel Transylvania 3: A Monster Vacation (U)

1

16 2 U Universal

1

The U category, which stands for which we consider carefully. Our sensitively, and we classified the ‘Universal’, is awarded to films which guidelines state that at U, ‘scary or film U, with ratings info of ‘very mild are generally suitable for audiences potentially upsetting sequences threat’. aged four years and over. BBFC should be mild, brief and unlikely to guidelines state that a U film ‘should cause any undue anxiety to young The issue of threat also occurs in be within a positive framework children. The outcome should be Mary and the Witch’s Flower, an and should offer reassuring reassuring.’ Mary Poppins Returns is animated fantasy film in which a counterbalances to any violence, a musical fantasy adventure sequel young girl is transported to a land threat or horror’. Although U is the in which a magical nanny helps a of magic after discovering a rare lowest category, there may still be family through a bereavement. It flower. There are scenes in which elements in the content that we need contains a scene in which a child is the young character loses control to consider. This includes issues such taken away in a carriage by animated of her magical broomstick and as threat, violence, bad language, characters. At the end of a perilous hurtles towards the ground, as well sex references and dangerous pursuit, he wakes up safe in his bed. as sequences involving creatures behaviour, as well as wider aspects This reassuring resolution, and the being transformed through magic such as theme and tone. fantastical context, helped ensure potions and spells. Once again, the that the level of threat does not reassuring resolutions and fantastical One of the most common issues at exceed the ‘very mild’ category. A context meant that the film is the most junior category is threat, bereavement theme is also handled permissible at U, with ratings info of ‘very mild threat’.

At the most junior category, fantasy settings and comic tone are a common mitigating factor for violence. Hotel Transylvania 3: A Monster Vacation is an animated comedy sequel in which Dracula 1 Mary Poppins and his monster family take a cruise. Returns (U) Amongst other classification issues, there are sequences in which 2 The Grinch (U) characters suffer grisly mishaps. Any violence is represented unrealistically, including having heavy objects dropped on them and a flare gun being fired in their direction. We passed it U, with ratings info of ‘mild 2 scary scenes, slapstick violence, rude humour’.

18 U Universal

at the U category. At U, ‘potentially dangerous or anti-social behaviour which young children may copy must be clearly disapproved of.’ The Little Vampire is an animated fantasy film in which a 13-year-old boy helps a vampire try to save his family from vampire hunters. We initially classified it PG because of a scene in which a child uses electrical apparatus to send an electric charge to an enemy. However, the distributor chose to remove the scene in order to achieve a U classification. We subsequently passed it U, with 3 ratings info of ‘mild comic violence, threat, very mild bad language’.

Bad language continues to be an In the case of Hotel Transylvania attention is drawn to the exposed issue of concern for a significant 3: A Monster Vacation, ‘rude buttocks of the character Mankini, proportion of parents, especially humour’ refers to scenes in which named after his outfit of choice. In at the more junior classification. characters break wind after eating another scene a gnome’s trousers fall The animated comedy The Grinch a virulent guacamole. Rude humour down and a character exclaims, ‘Big initially contained a use of ‘ass’, is a recurring issue at the junior hairy bums!’ We passed the film U, which we categorise as mild bad categories, and other examples occur with ratings info of ‘very mild threat, language, and is likely to confound in Sherlock Gnomes, an animated violence, rude humour’. parental expectations at the lowest adventure in which a pair of garden classification. In order to obtain a gnomes join forces with a detective Although fantasy settings are a U rating, the distributor chose to to find their kidnapped friends. There mitigating factor, we still consider remove the term and we ultimately are scenes in which the audience’s imitable and dangerous behaviour classified it U with ratings info of ‘mild

3 Smallfoot (U)

4 The Little Vampire (U)

4

19 U Universal slapstick, very mild bad language’. We also required the distributor to We passed all episodes in Season 1 Similarly, we would have rated the make a cut to the animated feature A of the Netflix animated seriesBoss animated comedy Smallfoot PG for Wizard’s Tale in order to obtain a U Baby: Back in Business – a spin- a use of ‘crap’, but the distributor age rating. The distributor chose to off from the 2017 feature – at U, chose to replace the offending term remove a scene in which characters with classification issues including and we passed it at U, with ratings inhale gaseous substances in a rude humour, mild comic violence, info of ‘very mild threat, rude humour, manner that suggests drug misuse. threat, and very mild bad language. language’. A more straightforward However, some mild bad language classification, at least in terms of We also classify content for online meant that we classified some language, was Luis and the Aliens, distribution for platforms such as episodes of the second season at which included a use of ‘butt head’ Netflix and Amazon in which the PG. – considered to be ‘very mild bad same classification standards apply. language’ and permitted at U.

1

1 A Wizard’s Tale (U)

2 Incredibles 2 (PG)

2

20 2 PG Parental Guidance

1

Content classified PG is generally ratings info advises of ‘frequent scary with previous Transformers films, suitable for children aged eight scenes’. but the distributor subsequently years and over. PG films may depart made changes to some scenes from the safe and generally non- Mild threat and violence are which reduced the impact of stronger threatening world presented in also elements in Incredibles 2, fighting sequences and allowed it to films classified U, but where there another sequel which follows the be passed at PG. We still describe are scary moments they will usually animated adventures of a family of the violence in the ratings info be balanced by elements such as superheroes. Scenes of the heroes as ‘moderate’ but its fantastical humour or fantasy. battling the villains feature kicking elements – with much of the fighting and punching, and in one encounter taking place between giant robots, Goosebumps 2: Haunted Halloween a villain attacks a woman with a cattle rather than with humans being is a horror adventure sequel in prod. However, the action is set in a involved – play an important part in which three teens must stop an evil firmly established fantasy adventure terms of the revised version being dummy intent on bringing Halloween context in which the violence is suitable at PG. creatures to life. The scary elements unrealistic and leavened by comedy, come from a variety of fantasy horror enabling us to pass it at PG, which Peter Rabbit is an adaptation of creatures, including a ventriloquist’s also covers instances of mild bad the Beatrix Potter story in which dummy, witches, skeletons, a language. a rabbit tries to outwit a gardener werewolf, pumpkins and a giant and save his supply of food. There spider made from balloons. There There are occasions when factors is threat to the animals from the 1 Bumblebee (PG) are extended action sequences in such as fantasy and comedy are gardener involving a variety of which the heroes fight or flee from insufficient to mitigate the impact of makeshift weapons including garden creatures. However, these scenes violent scenes at the PG category. implements and sticks of dynamite, focus on adventure and excitement, An example of this is Bumblebee and comic violence when the animals broken up by the use of humour and, – part of the popular Transformers retaliate with lots of slapping and although the heroes are occasionally science fiction adventure franchise kicking and comical pratfalls. Prior scared, the emphasis remains on – in which a robot takes refuge to the film’s release in the UK, but their resourcefulness, bravery and in a Californian town where he is after it had opened in the US, we teamwork which allows the film befriended by a teenage girl. We received complaints about a scene to be classified at PG, in line with originally classified the film 12A for in which the animals pelt the farmer the original feature from 2015. The moderate fantasy violence, in line with blackberries, to which he is

22 PG Parental Guidance

allergic, causing him to have an release was Show Dogs, a US action in bed together after implied sexual adverse reaction. There appeared comedy in which a police dog goes activity. There is nothing crude or to be some misunderstanding about undercover with an FBI agent to bring gratuitous in these references, which the scene with complainants stating down a gang of animal smugglers. are comic and are placed in the that a child was the victim of bullying The film contains mild bad language context of an exuberantly ‘feel-good’ and that the blackberry-throwing and comic violence, as well as rude film. While the MPAA rated the film would encourage children to bully humour, including a scene in which PG-13 in the US, we gave it a rating of others who suffered from allergies. the police dog is self-conscious PG, in line with the original film. This is clearly not the case, since the about having its private parts gardener is an adult and the animals inspected by the competition judges, Similar contextual arguments allow are simply fighting back against him and attempts to go to his ‘happy for the passing of mild sex references and his own arsenal of weapons. It place’ to take his mind off what is at PG in the Indian drama Sui is unlikely that children will emulate happening. Before the film started Dhaaga (Made in India) in which a such actions any more than they its UK release, some members of the family face various obstacles in their might the rest of the slapstick comic public, who had not yet seen it but attempt to set up a clothing business. action in the film. Furthermore, the who had read blog posts from the US The references include: a man provoking of the allergy is not shown suggesting that these scenes might suggesting his employee only wants to be harm-free, with the gardener reduce the resistance of children to to borrow a bike so that he can go using an Epipen in response to adults touching them inappropriately, somewhere with his wife and ‘get it his reaction. The extended ratings expressed concerns. However, the on’; women delighting in their plan to info published on our website did scene in question is light, comic and ‘take advantage of being a woman’ in include the following reference: entirely non-sexual, if a little rude. order to get their husbands on board ‘In one scene, a character who is Our view is that the US allegations with a project; and one of the men allergic to blackberries is pelted with were a misinterpretation of the scene subsequently complaining that the the fruit and must use an Epipen to in question. women are ‘shunning’ their husbands counteract the effects’. We classified in bed. The film is a touching the film PG for ‘mild threat, comic Mamma Mia! Here We Go Again is family drama which received a PG violence’. Once the distributor had a romantic comedy sequel in which classification for ‘infrequent mild released the film, we largely stopped a woman finds out more about violence and injury detail’. receiving complaints. her mother’s past. It contains mild sex references, including a man 2018 saw the latest re-release of Another PG film that gave rise to anticipating his ‘first time’ with a the 1955 British war filmThe Dam unexpected concern prior to its woman, and couples shown lying Busters in which British forces

2 Peter Rabbit (PG)

2

23 PG Parental Guidance plan and execute a daring attack on Germany’s Ruhr dams during the Second World War, and the consequent revisiting of an issue concerning discriminatory language. The film, which is based on a true story, features a dog whose name is ‘Nigger’, which was also the name of the dog in question in real life. The name is used repeatedly in more than one scene and was also the code word to confirm the successful bombings of the dams. We had previously classified the film at the U category, most recently for a cinema re-release in 2007. Even since 2007, public concern about discriminatory 1 language has increased and we have amended our guidelines accordingly. The film is now more Even though we have passed comments such as ‘We really need appropriately placed at PG where all other episodes of the Netflix your TERDS’, ‘The government hired the guidelines state ‘Discriminatory children’s animated comedy me to make TERDS’ and ‘We’re language or behaviour is unlikely series The Epic Tales of Captain deep inside the mountain of TERDS’. to be acceptable unless clearly Underpants at U, one episode raised The repetition of the term, which is disapproved of, or in an educational an issue concerning rude humour. usually considered a PG term when or historical context, or in a Although the series is intended for used as bad language, and the more particularly dated work with no likely online distribution, we apply the overtly offensive contexts in which it appeal to children’. The ratings info same standards when classifying is used, is likely to confound parental for the film signals ‘racist terms, mild such content. In this episode, a expectations at the U category, and bad language’. device is referred to by the acronym so we passed the episode at PG. TERDS which is used repeatedly in

1 Goosebumps 2: Haunted Halloween (PG)

2 Mamma Mia! Here We Go Again (PG)

3 Maze Runner: The Death Cure 2 (12A)

24 3 12A Cinema/12 Home Entertainment

1

We award the 12A category to Marvel Cinematic Universe and this permit scenes of injury at 12A as long cinema films that are suitable, in latest instalment follows an army of as they are infrequent and there is general, for those aged 12 and superheroes who work together to no dwelling on detail. We therefore over. An adult may take a younger stop an evil foe from destroying the classified the film 12A for ‘moderate child if they believe that the film is universe. The film features frequent violence, injury detail’. appropriate for that particular child. scenes of moderate fantasy violence In such circumstances, responsibility in which various characters with Also released in 2018 was the for allowing a child under 12 to view special powers fight each other or Tamil-language action adventure 2.0 the film lies with the accompanying battle an army of aliens. The violence featuring a robot that is reactivated adult. To help adults make such includes shootings with futuristic to defeat an evil force threatening decisions, we provide ratings info, weapons, as well as punches, kicks a city. The original version of the available on our website and free and blows from other weaponry. film featured strong bloody images mobile and tablet Apps. Ratings info In this respect, the film’s content is that required a 15 classification. The describes significant issues in the similar to previous Marvel films and distributor chose to make two cuts film that influenced its classification, we classified it 12A for ‘moderate to reduce the stronger moments in such as bad language, sex, nudity violence, threat’. order to secure a 12A classification. and violence. The 12 classification After cuts, we gave it an age rating of is the equivalent category for video In addition to violence, Black 12A for ‘moderate fantasy violence, content, and no one under 12 may Panther contains sequences of threat, bloody images, scene of buy or rent a video classified 12. injury detail including one in which hanging’. a torso wound is shown during a Distributors frequently submit healing process. There is also sight Distributors will sometimes make action blockbusters to us with a 12A of other bloody wounds, but we changes to a film during post category request, especially those in the sci-fi and fantasy genres. This is helpful to us as it gives us an indication of the audience that the distributor is hoping to reach, 1 Ant-Man and however it does not influence the Wasp (12A) our classification decision. BBFC guidelines at 12A allow for the 2 Mission depiction of moderate violence, Impossible: although the instances should not Fallout (12A) feature an emphasis on blood or injury detail. 2018 saw the release of numerous Marvel Comic adaptations including Ant-Man and the Wasp, Black Panther and Avengers: Infinity War. Avengers: Infinity 2 War is the nineteenth film in the

26 12A Cinema/12 Home Entertainment

production using our advice largely exist within a context that is Give, a US drama in which a teenage service. One example of a film fantastical and distanced from reality. girl is drawn into activism after she submitted for advice ahead of its Another example of this is Mission witnesses the murder of her friend. formal classification in 2018 isMaze Impossible: Fallout, an action thriller One scene shows a white police Runner: The Death Cure, a science in which the Impossible Missions officer shooting a black teenager, fiction drama in which a group of Force must race against time to foil which results in the bloody aftermath young people try to save their friends a terrorist group’s plan. Audiences as the young man dies in the street. who are being held captive. The film often approach sequels with the There is also moderate threat during features scenes of action violence expectation that the film’s content drive-by shootings and riots. We and threat, in keeping with previous will be similar to previous entries in allow occasional bloody moments 12A-rated entries in this franchise. a series. The violence in Mission in 12A films if justified by context, However, we advised the distributor Impossible: Fallout does contain providing there is no focus on blood that in order for the film to achieve some impactful hand-to-hand combat or wound detail. We classifiedThe the requested 12A, they needed to scenes with forceful punches and Hate U Give 12A for ‘moderate make reductions to a sequence in kicks. However, the focus of these violence, drug and sex references, which zombies attack a group. The sequences is on fast-paced action infrequent strong language’. scene included a focus on people rather than dwelling on violence or being threatened by zombies and bloodshed. There is also a scene Scenes of threat are often the several impactful shootings. As a of injury detail in the aftermath of category-defining issue in horror result of this advice the distributor an accident which shows a man films. Eli Roth’sThe House with a decided to make reductions to the with burn injuries on the side of his Clock in Its Walls is a fantasy horror scene in question prior to formal face. We classified the film 12A for in which an orphaned boy must submission. We gave the version ‘moderate violence, injury detail, help his warlock uncle uncover the submitted for formal classification infrequent strong language’. mystery of the ticking clock hidden an age rating of 12A for ‘moderate in his gothic mansion. Scary scenes violence, threat, language’. By contrast, other films present include those in which the heroes are these issues, especially violence, in menaced by frightening, supernatural Instances of violence, threat and a slightly more ‘real world’ setting. creatures including sinister puppets injury detail in films such as2.0 and An example of a film which features and slime-spitting pumpkins. Some Maze Runner: The Death Cure more realistic violence is The Hate U of the imagery in the film is quite

3 2.0 (12A)

3

27 12A Cinema/12 Home Entertainment frightening and there are occasional scenes of supernatural threat. However, the overall tone of the film is fantastical with scenes containing elements of adventure and humour which diffuse the tension. We therefore classified the film 12A for ‘moderate threat, scary scenes’.

The context in which issues appear is a key consideration when classifying material including depictions of drug misuse. Our guidelines at 12A state that drug misuse ‘must be infrequent and should not be glamorised or give instructional detail’. An example of this treatment of drug misuse and references to drugs can be seen in the autobiographical documentary My Generation which looks at Britain in the 1960s. In the documentary, there are references to drug misuse 1 by the youth of the day, including verbal references to the use of LSD, marijuana and speed, illustrated Drug references were also an issue not condone drug misuse and the by archive footage showing joints in Bohemian Rhapsody, a biopic drugs are clearly disapproved of. being prepared and smoked, and following the life and music career of We classified it 12A for ‘moderate people swallowing pills. Given the Freddie Mercury. The film contains a sex references, drug references, historical and documentary content, scene in which lines of white powder infrequent strong language’. we classified the film 12A for ‘drug are briefly seen on a table, and a misuse and references, nudity’. scene in which a man swallows Just as depictions of drug misuse, an unidentified pill. The film does violence, injury detail and threat

1 The Hate U Give (12A)

2 Bohemian Rhapsody (12A)

2

28 12A Cinema/12 Home Entertainment

12A for ‘images of real dead bodies’.

At 12A, BBFC guidelines state that discriminatory language or behaviour ‘must not be endorsed by the content as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.’ Green Book is a comedy drama in which a white man takes a job as a driver for a black pianist on tour through the Deep South. The film contains racist language, as well as a scene in which the pianist is refused service in shops and told to use a separate lavatory. In this case the racist language and 3 behaviour are mitigated by both the historical context within which they occur and the film’s critique of such discrimination. The film does not must remain moderate in nature writer attempts to set his affairs in condone or endorse discriminatory in order to qualify for 12A, so must order before his death. Throughout language or behaviour and shows depictions of, and references to, sex. the film there are references to two contrasting characters forming I Feel Pretty is a romantic comedy assisted dying as a terminally ill man a friendship. We gave Green Book in which a woman who hits her head considers taking steps to end his life. an age rating of 12A with ratings info discovers a new-found confidence. There are also scenes in which a man advising that it contains ‘infrequent The film contains a sex scene that receives visits from a representative strong language, moderate violence, includes close-up shots of a woman’s from a euthanasia organisation. In and discriminatory behaviour’. face as she rides on top of a man. recognition that themes such as The scene includes a brief view of death and euthanasia may prove Also released in 2018 was the the woman’s back, but there is no distressing for some audiences, we comedy drama Freak Show, clear nudity. Because there is no classified the film 12A for ‘references featuring an eccentric teenager who strong detail, the film conforms to our to assisted dying’. struggles to find acceptance at his guidelines at 12A, which state that conservative high school. There is ‘sexual activity may be briefly and Another film that deals with a scene in which the teenager is discreetly portrayed’. There are also serious issues is Back to Berlin, a attacked by a gang of bullies, leaving sex references, including ‘banging’, documentary in which a group of him unconscious with streaks of and a woman wanting ‘sex but not bikers from Israel retrace the steps blood on his face. The teenager babies’. The sex references are not of earlier travellers and ride through is also verbally and physically crude or graphic and thus adhere Europe. The documentary contains abused by his classmates, who use to our guidelines at 12A, which state images of real dead bodies that homophobic slurs. However, the film that ‘moderate sex references are accompany the personal testimony carries a strong anti-discrimination permitted’. and family memories of the members message and features an inspiring of the group. Because the images narrative for a young teen audience. There are also moderate sex are brief and within a documentary Freak Show is classified 12A for references in the Hindi-language context, we classifiedBack to Berlin ‘moderate violence, discrimination comedy drama Badaai Ho, in which a man is embarrassed to face his community after he learns that his parents are expecting another child. The sex references include 3 My Generation conversations about parents (12A) having sex and references to using 4 Green Book protection. In one scene, a couple (12A) undress in a bedroom, implying that they are about to have sex. Badaai Ho is classified 12A for ‘moderate sex references’.

Occasionally, classification issues that are not of a typical nature will arise. That Good Night, for instance, is a drama in which a terminally ill 4

29 12A Cinema/12 Home Entertainment

tragedy. There is a scene of violence in which a man is ‘waterboarded’ before having his eyes gouged out. There is also sight of stage blood after injuries are inflicted with bladed weapons. The impact of the violence was reduced by the stage setting and the lack of realism. As a result, we classifiedNational Theatre Live: King Lear 12A for ‘moderate violence’. Also in 2018, we classified Troilus and Cressida, a recording of a production of Shakespeare’s play in which the two are separated when Cressida is given to the Greek camp in a prisoner exchange during the siege of Troy. The production includes several uses of ‘whore’ and is classified 12A for ‘moderate bad language’.

We also see a range of category- defining issues in our ongoing work 1 classifying music videos online. Among the music videos which received a 12 age rating in 2018 are Zayn’s Let Me which features moderate threat, violence and sex theme, sex references, strong is unusual in films classified 12A but references. Little Mix featuring Nicki language’. in this case we considered the word Minaj’s Woman Like Me received sufficiently obscured to allow a 12A a 12 for moderate bad language, Bad language is another key issue age rating for ‘moderate sex and while Dizzee Rascal featuring in classifying films at 12A. The drug references, infrequent strong Skepta’s Money Right received a 12 frequency of strong language at this language’. classification for ‘infrequent strong category is not the only factor we language, drug references’. consider. We also take into account Older films are sometimes context, such as the manner in which resubmitted to us in order to obtain Several VoD services voluntarily language is used. Our guidelines a revised age rating. In 2018 this choose to submit content to us state that strong language may be included Ingmar Bergman’s 1955 in order to obtain an age rating. permitted ‘depending on the manner romantic comedy Smiles of a Netflix original content includedTo in which it is used, who is using the Summer Night. Originally rated X All The Boys I’ve Loved Before, a language, its frequency within the with cuts in 1956, this was changed to romantic drama in which a teenager’s content as a whole and any special PG in 1995 for video release. Under life is turned upside down after contextual justification’.Everybody’s current guidelines, however, Smiles various love letters she’s written Talking About Jamie is a recording of a Summer Night is classified are mysteriously mailed out. We of a live performance of a West 12A for its re-release for ‘moderate classified the film 12 for ‘moderate End musical in which a teenage sex references, suicide attempt’. By sex references, language’. We rated boy dreams of performing in drag. contrast, we lowered the age rating the second season of the coming- There are four clear uses of strong of the horror comedy Beetlejuice of-age comedy series Atypical language throughout the production. (first released in 1988) from 15 to 12 for issues including ‘moderate Four uses of strong language does 12A for ‘moderate horror, sex and sex references, drug misuse, not exceed our guidelines at 12A, suicide references, infrequent strong language, violence and injury and we also concluded that the language’. detail’. In submitting these titles for production has a positive message classification, VoD services provide and could be of value to viewers Distributors regularly submit 1 RSC: Troilus their customers with a consistent and Cressida within the 12A age range. recordings of live performances and recognised classification system (12A) of opera, theatre and dance across cinema, home media and In the comedy Instant Family, a productions to us for classification if online viewing. 2 Deadpool 2 couple of first-time foster parents they are to have a cinema release. (15) take in three siblings. There is a An example of a theatre production single use of ‘f**k’ in addition to one in 2018 is National Theatre Live: cut-off use of a particularly strong King Lear, a recording of a stage term (‘motherf**ker’). Use of this term performance of the Shakespeare

30 3 15

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In keeping with recent years, we bearing photographic images of consult us at the script stage of the classified more cinema releases at 15 an erect penis between buttocks, project) is a British comedy which in 2018 than at any other category. and other graphic sexual stills. The follows the misadventures of a group No-one under 15 may see a 15 film in social and historical context, together of friends at an outdoor pop concert. a cinema or buy a 15-rated video. with an absence of clear sight of We classified it 15 for ‘strong sex penetration, allowed these moments references, crude humour, sex, drug South Asian films often reach this of stronger sexual detail to pass at 15. misuse, very strong language’, but category for violence but seldom only after the company made cuts for sex. Veere di Wedding was 120 BPM and the British adaptation to remove a crude and realistically an exception this year and the of the Ian McEwan novel On presented shot of implied ejaculation, film polarised opinion among its Chesil Beach (which follows to reduce a scene of urination onto audience: some thought it too the consequences of a couple’s a man’s face, and to reduce to a explicit, while others praised its disastrous wedding night) both minimum a scene of implied sex with refreshing portrayal of female contain another example of a goat, in the context of a ‘pagan’ sexuality. The comedy, in which a stronger sexual detail: sight of liquid ceremony. group of female friends take a trip resembling semen after sex. We to Thailand, contained strong sex also permitted both of these scenes As with The Festival, we suggest 1 The Festival references, over twenty uses of at 15: they shared a clear narrative cuts, where possible, to any company (15) strong language and a scene of justification and a lack of titillatory that wishes to achieve a lower implied masturbation without nudity, intent. age rating. In 2018, a number of and therefore we passed it 15 uncut. distributors chose to reduce scenes As with other issues, a comic of violence in order to achieve a Nudity in a sexual context is context can often be a mitigating 15 rather than an 18 rating. We saw permissible at 15 but usually without factor to strong sexual detail of The Equalizer 2 for advice and strong detail. 120 BPM, a French this type. However, crudity in the recommended an 18, as had been the drama following AIDS activists in tonal treatment of such detail can case with its predecessor. The action 1990s Paris, contains scenes showing aggravate. The Festival (an example thriller sees the return of former black protestors marching with placards of a film whose makers chose to ops agent Robert McCall as he hunts

32 15

for the killer of a friend. We required who wished to see these films in their 1994 Bruce Dickinson concert in the cuts for 15 to moments focusing on original form were usually able to do war-torn city, uses archive of the the sadistic infliction of pain and so: the distributors of The Equalizer aftermath of a fatal shooting of a injury - including McCall severing a 2, Final Score and Death Wish all young boy by a sniper. The brevity foe’s spine and twisting another’s reinstated the cuts for uncut 18-rated of the images, together with their already broken arm. The company home entertainment releases. narrative justification in establishing behind the espionage thriller Red the trauma imposed on the city by Sparrow elected to make cuts to a The fictional depictions of violence the Bosnian War, did not provide bloody garrotting scene, with focus and injuries in films such as these can sufficient mitigation to pass the killing on the wounding of the victim’s be less troubling to audiences than of a child at 12A. We classified it 15 throat and subsequent bloody actual footage of real harm. Serious for ‘strong language, images of real aftermath in order to achieve a 15. documentary intent, however, dead bodies’. We similarly awarded a 15 to Final may mitigate. An example, in this Score, in which a US Armed Forces centennial year of the Armistice, was A third category of problematic veteran becomes embroiled in a Sir Peter Jackson’s collaboration with violence on screen is the terrorist attack at a football match, the Imperial War Museum to apply dramatisation of real events, only after the company made cuts modern production techniques to the particularly those that remain fresh to the stabbing of a man’s groin and First World War archive footage. They in the mind. With submissions such sight of another’s head being held Shall Not Grow Old contains graphic as these, we must consider that beneath the surface of a deep fat enhanced and colourised footage of reconstructions of real events are fryer. Sadistic violence like this is battlefield injuries that is mitigated likely to have a greater impact on unlikely to be acceptable at 15. Eli to some degree by the educational viewers. Notable examples in 2018 Roth’s remake of Michael Winner’s context but which exceeds in were Clint Eastwood’s The 15:17 Death Wish, containing a torture frequency the guidelines’ allowance to Paris, which recreates the 2015 scene in which Bruce Willis’ vigilante at 12A for ‘occasional gory moments’. Islamist attack on a Thalys train, and exposes a nerve in a captive’s leg, We classified it 15 for ‘bloody injury two films based on the 2011 Norway probes it with a scalpel and then detail, images of real dead bodies’. attacks: Utøya - July 22 by Erik pours brake fluid into the wound, Footage of real violence towards Poppe, which reconstructs events in exceeded what we accept at 15 and children gives audiences particular real time, and the Netflix drama22 the company subsequently made concern: the documentary Scream July by Paul Greengrass. All three cuts to this scene. Adult audiences for Me, Sarajevo, which follows a films handle their subject matter with

2 On Chesil Beach (15)

2

33 15

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sensitivity, but audiences are less frequent strong language, crude strong violence and crude humour. inclined to dismiss violence in films of comic sex references, and regular this type than they are in the fictional strong bloody violence, all of which Very strong language continues 12A universes of Bond or Bourne, DC marked it out as a 15 in line with the to be an issue that UK audiences or Marvel. The 15:17 to Paris, Utøya - original. find unacceptable at the junior July 22 and 22 July are all rated 15. categories, and this can include In an attempt to make Deadpool 2 dialogue which plays on the word. In Two 2018 submissions from the available to a wider audience, the the Royal Shakespeare Company’s Marvel universe – where fantastical company subsequently submitted recording of a live performance of a context and comic tone mitigate an edited version, Once Upon a Shakespeare comedy, RSC: The the issues involved – were Venom Deadpool, which contains new Merry Wives of Windsor, a pointed and Deadpool 2. Most superhero elements and which is softened comic exchange revolves around the blockbusters fall comfortably into the in terms of tone and content: very mispronunciation of the word ‘count’. 12A category, but these continued strong language was removed; A character then uses actual very a trend of examples of the genre strong language was largely bleeped; strong language to check what has which are appropriate for an older bloodier moments were reduced; and been said. Infrequent very strong audience. Venom follows the story sex references were toned down. language such as this is permissible of an investigative journalist who While Once Upon a Deadpool was at 15 subject to context, but more becomes host to an alien lifeform, rated PG-13 in the US, in the UK, than occasional use of very strong which manifests itself by transforming moments of personalised violence language is rare. The short form its body into a monstrous, fanged and injury – including an audible Netflix documentary seriesFollow creature. The film’s more horrific arm break during a fight sequence This, which charts investigations by 1 Bird Box (15) elements exceed those permissible and Deadpool breaking his back the digital news website Buzzfeed, at 12A, most notably the ‘body on a metal table after falling from contains an episode with around horror’ sequences in which victims a height – remained. So did an ten uses of the term. However, the are infected by the lifeform, causing emphasis on playing with notions of context of the subject matter in them to convulse and contort in a strong language, mouthed, bleeped which the uses occur (an inquiry into bone-breaking manner. Deadpool 2 and in word play. Crude comic sex the problem of online misogynistic is an action comedy sequel in which references included the implication abuse), together with the likely Wade Wilson returns to intercept a that Deadpool had filled a soap appeal and educational value to an time-travelling assassin. It contains dispenser with semen. We therefore older teenage audience, provided infrequent very strong language, rated Once Upon a Deadpool 15 for mitigation for a 15 age rating.

34 15

Language, too, was the category- An unusual classification decision drama Bird Box. In the film, human defining issue in the British arose in the video for Ibiza by The life on Earth has been devastated documentary A Northern Soul, Manor. It is set in a luxury villa on the by a mysterious entity which causes which follows a Hull factory worker island, in which a party-goer chugs those who look at it to take their own who sets up a mobile recording champagne through a funnel and lives. There are multiple scenes of studio to take music to impoverished hose. The imitability and danger suicide and self-harm: characters children. Nineteen clear uses of of the drinking game to a younger stab themselves in their necks with strong language in a 75-minute teenage audience, together with scissors; step in front of speeding feature meant that we classified the the aspirational glamour of the lorries; beat their heads against film 15. The film’s director sought to setting, meant that we classified it glass; and walk into flames. When challenge this, suggesting that the 15 at 15, with the short ratings info of considering scenes of this type, we classification reflected a class bias. ‘alcohol misuse’. The British rock are alert to romanticising elements However, our research shows that a band Bring Me The Horizon’s in the treatment of the suicide, and significant number of parents remain video for Mantra was towards the instructional detail (beyond that concerned by the normalisation of higher end of 15. It depicts, among which can reasonably be assumed strong language through casual use. other issues, the apparent suicide to be familiar to audiences). Bird Local councils may exercise their of the lead singer by taking pills, Box contained no complicating right to overturn any BBFC theatrical followed by the mass suicide of factors of this type, and the age rating and, in this case, a small members of his ‘cult’. Given the fantastical nature of the cause of number – including Hull, Leeds, fictional nature of the pills, together the suicides helped distance it from Liverpool and Manchester – chose with the fantastical consequences the audiences’ concerns. The short to do so, at the invitation of the film’s of taking them, this scene lacks the ratings info included a warning of director, producer and distributor. instructional elements or imitable ‘suicide scenes’ for audiences who suicide techniques which might have might wish to avoid such content, We classify some music videos for required an 18. regardless of context. online release, and language is the most common reason for a 15 Our classification decisions, where Other prominent Netflix releases age rating. A prominent example in suicide arises, are informed by from the year included The Ballad 2018 was the video for Dua Lipa’s work with charities and researchers, of Buster Scruggs and Roma. platinum-selling single IDGAF which, including a close collaboration with The Ballad of Buster Scruggs is an with eight uses of strong language, The Samaritans. The subject was a anthology of tales from the Wild exceeds allowances at 12, particularly classification-defining issue for one of West by the Coen Brothers. In it, a in a three-minute video. the most prominent Netflix releases gunslinger shoots each of the fingers of the year, the post-apocalyptic from a man’s hand, seen in close-

2 Roma (15)

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35 15

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up detail. The scene is played for rating. For older films, as with Dennis audiences less likely to be surprised comedy and lacks a sense of sadism Hopper’s 1971 drama The Last Movie, by its brief references to BDSM than or dwelling on injury, which might the existing age rating may no longer their equivalents in 1982 when we have indicated an 18. We classified exist: it was re-released this year and previously classified it. it at 15 for ‘strong bloody violence’. reclassified from X to 15, with modern Roma, by Alfonso Cuarón, is a semi- autobiographical drama following a year in the life of a middle-class family in Mexico City during the 1970s.

We recognise that the passage of time, advances in special effects and film techniques, and the wider changes in public attitudes can all make classifications decided in previous decades seem out of step with the current audience expectation. In 2018, we lowered the age rating of several previously classified older films that distributors resubmitted for modern classification. 1 The Ballad of Buster Scruggs We reclassified the theatrical version (15) of George A. Romero’s zombie classic Night of the Living Dead from 2 The 15:17 to 18 to 15 for the first time in cinemas. Paris (15) A number of films by John Carpenter also returned to us, with the theatrical 3 Halloween releases of They Live and Prince of (2018 version) Darkness both reclassified from 18 (18) to 15, while Escape from New York 2 and The Fog remained at the 15

36 3 18

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In films and videos at lower public consultation, respect the right distributor first submitted the film categories, we may resolve concerns of adults to decide for themselves to us for advice ahead of its formal arising from certain content by giving what to watch and exceptions to classification and requested a 15. We it a higher classification. This peaks this principle are kept to a minimum. advised, however, that the company at the adult rating, 18, where content As with lower categories, we also should make cuts to moments of that pushes the upper boundaries provide content advice in the form strong bloody violence and gore to of the category may require cuts or of ratings info, so adult viewers can secure this rating. These included a be refused a classification. BBFC continue to make informed viewing man being bludgeoned to death in guidelines at 18 therefore reflect a choices. a sadistic manner and a man’s head desire to balance concerns about being crushed, with resulting graphic protecting rights to freedom of A recurrent issue that results in detail. In the end, the distributor expression with a need to protect films receiving an 18 age rating is chose to leave the film uncut and vulnerable individuals, and wider the depiction of strong violence, Halloween is therefore classified 18. society, from the possible harmful especially if such actions are sadistic, effects of some film and video made to look appealing, dwell on the Alongside this latest instalment of material. This position corresponds infliction of pain and injury or contain the horror franchise, the original with the legal framework within the strongest gory images. The 1978 Halloween came in to us for a which we operate, including the French thriller Revenge, from director 40th anniversary re-release. We had Human Rights Act 1998, the Video Coralie Fargeat, depicts a young first classified the film X and we had Recordings Act 1984 and the woman wreaking violent retribution subsequently given it an 18 certificate Obscene Publications Acts 1959 on the men who assaulted her. The on video, which we had upheld and 1964. Since its amendment in film contains prolonged focus on for a theatrical re-release in 2012. 1994, the Video Recordings Act has gory injury detail and the victims’ However, viewing it under current placed a duty on our organisation to suffering, as well as scenes of strong guidelines, we considered the have ‘special regard (among other bloody violence and a harrowing film to be no longer reasonable or relevant factors) to any harm that sequence of sexual violence. defensible at the adult category, and may be caused to potential viewers Revenge is classified 18 accordingly. this is therefore now classified 15 for 1 Kler (18) or, through their behaviour, to society ‘strong threat, violence, and nudity’. by the manner in which the content 2018 also saw the release of horror deals with: criminal behaviour; illegal thriller Halloween, a sequel to John Another 1978 film that received drugs; violent behaviour or incidents; Carpenter’s 1978 slasher film of the an anniversary release in 2018 or human sexual activity’. Within same name, in which a serial killer was Michael Cimino’s Vietnam these parameters BBFC guidelines, escapes from captivity and hunts the War drama The Deer Hunter, in underpinned by a regular process of woman who once evaded him. The which a group of men from a small

38 18

town are left traumatised by their Some of the most challenging dormitory, and in another sequence wartime experiences. We originally material we consider concerns it is implied a boy is made to touch classified the film X uncut in 1978 representations of sexual violence. a priest. Although these scenes are and then 18 on video in 1987. The BBFC guidelines state that we may not detailed and the actions of the Deer Hunter features sequences refuse to classify content which: abusers are clearly not condoned, in which American prisoners of war makes sexual or sadistic violence their distressing nature and the are forced to play Russian roulette look appealing or acceptable; surrounding tonal issues resulted by their captors. The aspects of reinforces the suggestion that victims in Kler receiving an 18 age rating threat, humiliation and violence in enjoy sexual violence; or invites with the ratings info ‘child sex abuse these scenes contributed to our viewer complicity in sexual violence theme’. upholding the 18 rating in 2018 with or other harmful violent activities. the ratings info advising that the film We found that sexual and sexualised The links between media effects and contains ‘strong violence, threat, and violence were the key factors in harm can be inconclusive and are portrayals of wartime trauma’. classifying several feature films at a good deal less convincing where 18 in 2018. A Prayer Before Dawn violence without a sexual element As well as films in the horror and is based on the true story of Billy is concerned and our treatment of war genres, we also awarded an 18 Moore, a British national whose drug non-sexual violence at 18 reflects classification to the darkly satirical use led to him serving time in a Thai this. We remain confident that our comedy, Assassination Nation. prison where he agreed to participate differentiation in our treatment of The film depicts a town descending in Muay Thai boxing competitions. sexual and non-sexual violence into violence after personal In one scene in the film, Moore is substantiated by the available information about its inhabitants witnesses the gang rape of another evidence and, additionally, research is leaked onto the internet. The prisoner, which is too detailed undertaken to inform BBFC distributor submitted the film for and prolonged for a 15 age rating. guidelines shows the general public advice with a 15 request ahead of The ratings info also reflected the supports this position. In 2018, its formal submission. However, an brutality of the scenes of boxing and as in previous recent years, we accumulation of scenes depicting the significance of drugs to the plot, required no cuts at the adult level strong bloody violence and a with A Prayer Before Dawn being on the grounds of violence alone. sequence of sexual threat placed it at classified 18 for ‘sexual violence, We did, however, place several the 18 level. Under BBFC guidelines, strong bloody violence, drug misuse’. documentaries at the adult category we reserve the right to deny a because of the strength of their request for cuts if ‘the required The Polish drama Kler also deals depiction of real violence. changes would be very extensive or with the issue of sexual violence. The complex, or would not address, for film follows a group of clergymen One such example is Matangi/Maya/ example, a tonal or thematic issue as they try to conceal a dark history M.I.A., following rapper M.I.A. as she running throughout the work’. The of abuse during a highly publicised discusses her life and upbringing extent of the violent scenes and the construction project. The film reveals against the backdrop of the horrors tonal impact they have on the film details of these secrets through of the Sri Lankan Civil War. This prevented cuts being viable in this sometimes graphic verbal references includes an image of two children case, and we awarded Assassination and discreetly visualised in a series hanging from nooses, footage of an Nation an 18 age rating accordingly. of flashbacks. In one scene, a boy execution in which a man is shot in is assaulted by other teens in his the head, and sight of dead bodies

2 Revenge (18)

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39 18

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in the street. Although the inclusion training methods and execution of violence and corruption. Although of these scenes is justified by the terrorist plots. While the film does not the majority of episodes received documentary’s serious and thought- condone or glamorise their actions, 15 classifications, the detail and provoking approach, their disturbing in the course of the footage there are treatment of suicide in one episode nature meant they could potentially graphic images of real dead bodies, led to the title receiving an 18 age be more shocking and upsetting than injuries and violence. The film is rating overall. Adapted from the some fictional scenes of violence. classified 18 accordingly. novel of the same name by Gillian Matangi/Maya/M.I.A. is classified 18, Flynn, the TV mini-series Sharp with ratings info warning that the film The treatment of potentially Objects, in which a woman returns contains ‘images of real killings and disturbing or upsetting themes often to her home town to report on the dead bodies’. influences classification decisions murder of two young girls, deals such as in the depiction of suicide with themes of suicide, self-harm, Similar issues influenced the in an episode of the Hindi-language and physical and psychological classification ofPath of Blood, Netflix seriesSacred Games. Based abuse. The detail with which certain a documentary compiled from on a novel by Vikram Chandra, episodes portray these topics, as well seized footage shot by members the series follows a policeman as as occasional sight of brief but strong of Al-Quaeda which depicts their he attempts to save his city from sexual images, led to our awarding the series an 18 classification.

Strong sex and nudity were the category-defining issues in the drama Touch Me Not, in which a filmmaker explores intimacy with three subjects. While the content is evidently not pornography, it does feature scenes that exceed BBFC guidelines allowance at 15. In one scene, for instance, a man is shown holding his erect penis after masturbating, and there is a sequence in which people engage in BDSM activities. Accordingly, we classified the film 1 Sacred 18. Similarly, the second season of Games (18) the HBO drama The Deuce features scenes of strong sex and nudity 2 Touch Me Not (18) 2

40 R18 in its depiction of the porn and In 2018, the makers of Four Play, likely to be considered obscene, nightclub industry in 1970s New York. a short explicit pornographic film, the BBFC relies upon advice from Although there are scenes depicting submitted the film with an R18 the CPS regarding the forms of pornographic films being shot, these request for cinema classification. This behaviour that are likely to result are carefully composed so as not to is only the third R18-rated cinema in pornographic content being show prolonged or graphic detail, film since 1993, and the film forms regarded as suitable for prosecution. and we therefore classified the the centrepiece of a Channel 4 TV season 18. series in which a group of mothers, During 2018, the CPS consulted on concerned by the abusive nature of the guidance it issues to prosecutors Frequent crude or pornographic much online pornography, make their on the issue of obscenity. As a result, references to sexual activity can own ‘ethical’ porn film. The television in early 2019, it issued new guidance also lead to a film receiving an 18 transmission of the documentary that places a stronger emphasis rating. This proved the case in War shows the mothers attending a on the depiction of harmful and of Words: Battle Rap in the UK, private screening of Four Play, abusive behaviour as the key reason a documentary exploring a form although any explicit detail is masked for prosecution, rather than the of rap in which competitors take it or obscured for TV transmission depiction of niche sexual practices. in turns to insult each other to the in accordance with Ofcom rules. Accordingly, at the beginning of 2019, amusement of the crowds. In clips Although the film does not technically the BBFC revised its own R18 policies of these ‘battles’, there are frequent require a BBFC age rating, given that to permit the depiction of certain crude sex references, sometimes private screenings do not need our activities, including but not limited to incorporating references to incest, authorisation, the makers intended to sexualised urination, provided those paedophilia and rape as well as racist demonstrate that the film has been activities occur in a consensual and language. The film also features use properly regulated and is within UK non-abusive context. of very strong language as part of standards. Given that Four Play is the rapped insults, which in content a sex title featuring images of real Aside from OPA considerations, we and frequency exceed the BBFC sex but nothing abusive, harmful or do not allow at R18 penetration with guidelines allowance at 15. While illegal, we accordingly classified it objects likely to cause actual harm. In the language and references are R18. making these decisions we continue intended as shock-value humour and to draw upon expert research which the film clearly does not condone In 2018, there was another decrease can be found on our website. some rappers’ approaches to in the number of pornographic films controversial topics, the accumulation submitted to us. We classified 298 of issues and crude detail led to the films, which is a 19% decrease in film requiring an 18 age rating. submissions compared to 2017. The proportion of R18 titles subject to Humour can often be a mitigating cuts in 2018 was 15%, the same as factor to allow a title to be classified the previous year. However, the cuts at a lower category but it can that we required to R18 titles in 2018 sometimes aggravate an issue if it continue to reflect our strict policies is perceived as not treating a given on material which combines sexual subject with due care. In the light- detail with activity which is illegal, hearted US documentary series harmful, abusive or involves a lack Cooking on High, two chefs are of consent or the infliction of pain or invited to prepare dishes using injury. cannabis as an ingredient. As they do this, attention is given to the types of We required cuts to a number of films cannabis being used and its effects, to remove abusive and potentially and the participants’ enjoyment of harmful activity, including choking recreational drug use. The series and gagging during deep throat does not adequately warn against fellatio and instances of oxygen the detrimental effects of the drug, or being restricted during sexual activity. take into account the more restrictive We also required cuts to remove laws on cannabis in countries such abusive scenarios encouraging an as the UK. As such, the series interest in underage sex. contradicts BBFC guidelines at 15 which state: ‘Drug taking may We continue to require cuts to be shown but the film as a whole material likely to be in breach of must not promote or encourage current interpretation of the Obscene drug misuse (for example, through Publications Act 1959 and 1964 instructional detail).’ Accordingly, we (OPA). Because the OPA does not classifiedCooking on High 18. define which types of material are

41 Video games and associated media

Since 30 July 2012, with a few We advised a PG age rating for various fantastical creatures in order exceptions, the responsibility for linear content attached to Broken to rescue the soul of her dead lover. classifying video games has lain Sword 5: The Serpent’s Curse, the One of the game’s main themes is with the Video Standards Council fifth instalment in the adventure mental illness and the additional Rating Board (VSC), applying the game series. The content similarly material makes reference to the main Pan European Games Information comprises short featurettes in which character’s experience of psychosis. (PEGI) system. We continue to be game developers and members As a consequence, the content responsible for classifying any video of the voice cast discuss their includes numerous scenes of game game content attached to linear experience of working on the game. play footage in which the protagonist submissions. The VSC sends linear The content includes some game appears to be in significant mental material, which may form part of a play footage which feature scenes distress. This includes a couple of game, to us for a determination of of violence, including a sequence in sequences in which the heroine suitability, as this content may affect which an explosion erupts, causing self-harms. Although the theme of the overall age rating of a game. In a person to fly through the air. The mental illness is sensitively treated, 2018, this included add-on material mild violence resulted in a PG rating. we considered the detailed depiction for five video games. We are also The full game received a 16 PEGI of self-harm to be most appropriately responsible for classifying any video classification. classified 15. Strong horror images games containing R18-level material, such as hanging corpses and sight although we have given no video Punch Line is a visual novel of mutilated bodies, seen during game an R18 age rating since 2007. adventure game, based on a game play footage, also confirm the Japanese anime television series of category. The full game received a In 2018, we advised a U age rating the same name. We gave the linear PEGI age rating of 18. for a submission of linear content content for this game an age rating attached to the game 11:11 Memories of 12. The content consists of a short We advised an 18 rating for a single Retold. This a narrative-driven scene from an anime series in which submission of linear material. The adventure game, set during the First young female characters engage content relates to the game Yakuza World War. The material submitted in numerous activities, including Kiwami: 2, a remake of a game from to us comprised a collection of swimming at the beach. The material 2006. The linear material comprises featurettes which explain more depicts the characters in swimwear, live-action videos of women with about the production design, score and there is occasional emphasis whom the player can interact. The and historical accuracy of the game. on the characters’ breasts. There dialogue uttered by the women in the There is brief archive footage of are also infrequent shots of the video is suggestive. The women wear British soldiers on the front line, characters standing in sexualised revealing outfits, including bikinis and including a brief scene of two men poses. The VSC gave the full game a lingerie, as they pose and move in a helping an injured man to walk. There 16 PEGI classification. sexualised manner. Although there is is no discernible sight of blood or no depiction of nudity, the material is injury detail and the historical context We also viewed linear material strongly sexualised and titillatory in provides significant mitigation. We from the fantasy action adventure nature. As such, we considered this considered these images unlikely to game Hellblade: Senua’s Sacrifice. linear material most suitable at the 18 cause offence or harm and gave the Norse mythology and Celtic culture category. The full game received a content an age rating of U. PEGI gave inspire the game’s design and PEGI age rating of 18. the full game a 12 age rating. narrative, which revolves around a Pict warrior who does battle with

Unclassified content

Where cuts are viable, we will viable release cannot be salvaged suggest cuts to films, DVDs, Blu-rays from the remaining material, or if and online content which contain the distributor refuses to make the unlawful or potentially harmful required cuts, we may refuse to give material. If this is not possible content an age rating altogether. In because, for instance, the cuts are 2018, we refused an age rating to no so extensive or complex that a film or video content.

42 Legal issues

We must have regard to several significant proportion of the audience The Cinematograph Films (Animals) pieces of legislation that may affect likely to see it. In 2018, we required Act 1937 prohibits the public the classification of content. The cuts to a number of films to remove exhibition of a film in a British cinema Human Rights Act 1998 (HRA) material that we considered to be if any scene within it has been requires us to consider, among potentially obscene under the current ‘organised or directed’ in such a other things, the requirement interpretation of the Act. These way as to involve the cruel infliction that a filmmaker’s freedom of decisions are discussed in more of pain or terror, or cruel goading to expression is not unfairly infringed detail in the R18 section of this report. fury of any vertebrate animal. It is our by our classification decisions. policy to apply the tests laid out by The Act permits such restrictions Under the Protection of Children Act the Act equally to DVD, Blu-ray and on freedom of expression as are 1978, it is a criminal offence to exploit online submissions. prescribed by law and are necessary children by making, distributing or in a democratic society for the possessing indecent photographs In 2018, the distributor of 1969 protection of health and morals or pseudo-photographs of them. western Butch Cassidy and the or the prevention of crime and We will refuse to classify content Sundance Kid submitted it to us for disorder. If we do intervene with a that contains potentially indecent a cinema re-release. We previously film or video the intervention must be images of children under 18. This can classified it A uncut on film in 1969 proportionate. Although no specific often be a difficult decision to make, and PG uncut on video in 1987. issues with the HRA arose in 2018, its especially since the definition of the However, since then evidence application is something that remains term ‘indecent’ is not defined in law has come to light confirming that at the forefront of our thinking when and rests on interpretation by the the filmmakers staged a horse classifying material. courts. We have taken legal advice fall by means of dangerous trip on the current interpretation of wires. Accordingly, we required The Video Recordings Act (VRA) 1984 indecency and we return to lawyers a compulsory cut to remove this is the legislation that underpins the where necessary on a case-by-case scene of deliberate animal cruelty, supply and classification of physical basis. We also seek proof of age staged for the film, to comply with the audio-visual content in the United for younger-looking performers in Cinematograph Films (Animals) Act Kingdom. It is a piece of legislation pornographic content. 1937. that features prominently in our deliberations. Apart from setting out The French drama Reinventing We also required cuts to a number of the requirement to have content Marvin, which follows a boy’s path video submissions to remove sight classified, the VRA also requires us through an abusive childhood to a of real animal cruelty that appeared to pay special regard to any material theatrical career in Paris, features to be orchestrated and directed that may cause harm to viewers, or a scene in which it is implied that a for the purposes of the film. These through their actions, to society, such teenager is forced to perform oral sex include Adventure in Sahara (a as by the manner in which content on school bullies. The film contained horse being deliberately tripped and deals with violence, drugs or human shots of the boy’s head being held made to fall on its head and neck) sexual activity. next to another boy’s crotch, with and The Planter’s Wife (a cobra buttocks exposed. We sought proof and mongoose fight). Similarly, we The application of the Obscene of age which confirmed that the actor required cuts to remove scenes of Publications Acts (OPA) 1959 and playing the victim was 15 years old animal cruelty in content for online 1964 tends to be limited to our at the time of filming, whilst the actor distribution, including When the work with pornography. If content is playing the attacker was 18. Given Daltons Rode (a horse falling into deemed likely to be obscene under the age of the performers and the water from a height), The Fortress current interpretation of the OPA, we impression created, we required (a horse being dangerously tripped), are required to intervene. Content cuts to remove potentially indecent episodes from the series Monkey will be considered obscene if it has images of a child. Twins (cockfighting), andThe Rise a tendency to deprave and corrupt a of the Phoenixes (a horse being deliberately tripped and made to fall on its neck).

43 Statistics

44 Statistics

45 Statistics

46 Statistics

47 Video Appeals Committee

During 2018, there were no appeals Andrew stepped down on 31 Valerie Owen OBE: Managing to the Video Appeals Committee December 2019, we would like to Director, Le Valliant Owen. Former (VAC). The VAC is an independent to thank him for his exceptional Managing Director for London First body constituted under Section support as VAC Chair and we will be and Director of Jones Lang LaSalle. 4(3) of the Video Recordings recruiting his successor in 2019. Valerie has a portfolio of Non Act 1984 to hear appeals from executive Directorships including submitting companies against BBFC Swan Housing Group and Trinity decisions they consider stricter than Members Lighthouse Board. warranted. At the end of 2018, the Salman Momen: Former Head of full membership of the VAC was as Interactive Media Group, IBM. Now Professor Samuel Stein: Consultant follows: Managing Director at Accenture in Child, Adolescent and Family Interactive. Psychiatry. Barrister. Qualified Family Video Appeals Committee Chair Mediator. Professor Andrew Burrows QC FBA: Judy Clements: Former Director of Professor of the Law of England at the Independent Police Complaints the University of Oxford and a Fellow Commission. Now Adjudicator for HM of All Souls College. Barrister at Revenue and Customs. Fountain Court Chambers, London and a part-time judge.

Consultative Council

In 1985, we formed the Video that direct public consultation is a These included the BBFC Guidelines, Consultative Council (later the more effective means of representing the differences between historical Consultative Council) as a response the views of the wider public. classifications and current ratings, to a requirement, by the then Home Nonetheless, we will continue our and ways in which cinemas handle Secretary, that the BBFC should be relationships with stakeholders one-off screenings appropriately and accountable not only to Parliament and colleagues who formed part of effectively. We plan to establish this by means of its annual report but the Consultative Council including form of local authority engagement also to the views of the ‘wider representatives of local government, as a regular event. public’. The BBFC Classification the theatre and home entertainment Guidelines review that takes place industries, and fellow regulators. We would like to thank all the every four to five years now fulfils members of the Consultative Council that requirement. We reached out to In June 2018, we convened a who have supported us over the last members of the Consultative Council meeting of local licensing authority 33 years. in 2018, who agreed that the body representatives to discuss a range of has achieved its original aims and topics relating to cinema screenings.

1 Blackkklansman (15)

1

48 Advisory Panel on Children’s Viewing

The Advisory Panel on Children’s In July, the Panel deliberated A Quiet In November, the Panel discussed Viewing (APCV) provides a wide Place, a horror film in which a family The House with a Clock in Its Walls, range of skills and expertise in child live in silence in a post-apocalyptic a fantasy adventure in which an welfare and development. It meets world where alien creatures hunt orphaned boy must help his warlock three times per year and contributes by sound. We classified it 15 for uncle uncover the mystery of the to the development of BBFC policy sustained threat throughout. Our US ticking clock hidden in his gothic and BBFC Classification Guidelines. equivalent, the Classification and mansion. We classified it 12A for Ratings Administration of the Motion moderate threat and scary scenes. During 2018, the APCV looked at Picture Association of America The MPAA rated the film PG (parental the classification of three films; the (MPAA), had rated the film PG-13 guidance suggested – some material work of our education team; our (parents strongly cautioned – some may not be suitable for children) designation as the Age-verification material may be inappropriate for for release in the US. The Panel Regulator for online pornography children under 13), an age rating that unanimously agreed with the 12A age under the Digital Economy Act 2017; carries no formal age restrictions rating we gave. and the Classification Guidelines nor any formal requirement of adult consultation. accompaniment. This reflects the Baroness Claire Tyler and Louise slightly different approach in the US Robinson joined the APCV in July. In March, the Panel considered The to psychological threat or horror. We Florida Project, set at a motel just considered that, despite the strong outside Disney World as a young representation of the family group mother struggles to provide for and of disability, the prolonged and her daughter. The Panel discussed frequent threat faced by the family the classification issues, including merited the higher rating. Overall, references to prostitution, especially the Panel agreed with our 15 age the sensitive handling of the child rating and was clear that 12 or 13 year character in relation to her mother’s olds should not watch it although prostitution, as well as the discreet they accepted 14 year olds would portrayal of a paedophile. The Panel probably have seen it despite the 15 unanimously agreed with the 15 age rating. rating we gave.

Membership of the Panel in 2018

Margo Boye-Anawomah Andrew Mackereth Reg Bailey Childcare barrister & family judge Regional Education Director, E-ACT Chair of The Board of Trustees at YMCA England & Wales John Carr OBE Annie Mullins OBE Expert on child protection in relation Director of Ask.fm Europe Trust & Louise Robinson to new media Safety and Co-founder of the Institute Director, Newcastle University of Digital Well-Being Institute for Ageing and Professor Naomi Eisenstadt of Primary Care and Ageing; Regius Independent Adviser on Poverty The Very Reverend Professor Professor of Ageing and Inequality (previously Senior Martyn Percy Research Fellow, Department of Dean of Christ Church, Oxford Baroness Claire Tyler Education, Oxford University Liberal Democrat Life Peer in the Professor Ann Phoenix House of Lords Joe Godwin Co-Director of the Thomas Coram Director of the BBC Academy Research Unit

Professor Charlie Lewis Honor Rhodes OBE Professor of Family & Developmental Director of Strategic Development, Psychology, Lancaster University Tavistock Centre for Couple Relationships

49 Business review 2018

The principal officers of the British Council of Management Board of Film Classification in 2018 Chair President Maggie Carver Patrick Swaffer Finance Committee Chair Vice Presidents Lesley Mackenzie Alison Hastings – resigned 2 November 2018 Remuneration Committee Chair Gerard Lemos – Sonita Alleyne resigned 20 April 2018 Lord Kamlesh Patel – Members appointed 1 May 2018 Merion Alcock Murphy Cobbing – Alison Hastings – appointed 1 November 2018 resigned 2 November 2018 Gerard Lemos – Chief Executive Officer resigned 20 April 2018 David Austin Jon Teckman

Chief Operating Officer Auditors Dave Barrett Grant Thornton UK LLP Grant Thornton House Policy Director Melton Street David Miles London NW1 2EP Finance Director Siobhan Smedley-Wild Bankers Barclays Bank PLC Head of Compliance 27 Soho Square Craig Lapper London W1D 3QR Compliance Manager Sarah Peacock Solicitors Goodman Derrick LLP Head of Digital Economy Act 10 St Bride Street Murray Perkins London EC4 4AD Head of Business Services Tom Cairns Bird & Bird LLP 12 New Fetter Lane Executive Director of Marketing London Faye Harcourt EC4A 1JP

Head of Communications Registered Office Catherine Anderson 3 Soho Square London Head of Education W1D 3HD Lucy Brett Registered number 117289

50 Strategic report for the year ended 31 December 2018

The directors present their report In addition to this infrastructure uncertainty and complexity. The with the financial statements for the investment, the BBFC incurred directors do not consider this to be year ended 31 December 2018. significant distinct and largely non- a significant risk for the BBFC and recurring costs in 2018 totalling are confident that Brexit will have Principal activities £0.4m, including expenditure on minimal impact on the business. Guidelines research. The company, which is limited by Financial instruments guarantee, is responsible for the This sizable investment has had classification of cinema films on a considerable impact on the The company’s financial behalf of local authorities and, in statement of comprehensive income, instruments at the balance sheet accordance with the terms of the and further losses are anticipated date compromised of bank loans, Video Recordings Act 1984, for the in 2019 as a result of continued investments, cash and liquid classification of video works. It also investment. resources. The company has various classifies under voluntary self- other financial instruments such as regulatory services, video content Turnover for the year was £5.6m trade debtors and trade creditors that distributed over the internet and (2017: £5.6m). There has been a arise directly from its operations. commercial and internet content 15% decline in income from DVD distributed via the UK’s mobile classification, which was expected. A loss on the value of investments of networks. In addition, on 20 February This decline as seen in the previous £0.4m (2017: £0.4m gain) has had a 2018, the BBFC was designated the ten years is predicted to continue, considerable impact on the reported Age-Verification regulator under the as the demand for online product result for the year. Digital Economy Act 2017 (DEA). increases. Its revenue is derived principally Interest rate risk from fees charged to distributors for The decline has been offset by a the classification of their product. 44% increase in online submissions. The company has no interest rate Funding for the BBFC’s DEA work The current rate of increase is not exposure as it has no long term debt. comes from Government. expected to offset further declines in DVD income and the cost base Liquidity risk Review of the business of the Company is being managed accordingly. The company has significant net cash The BBFC continues to focus on balances as at the balance sheet providing trusted classification for Film submissions remain steady and date. film, video and online services. it is anticipated that the current level of submissions will continue to be Foreign currency risk The results for the last financial year maintained. are shown in the annexed financial The company’s risk to foreign statements. The key financial Turnaround times for DVD home exchange transactions does not indicators used by management to entertainment works to be processed arise as all the company’s financial monitor performance and to assess were reduced to 6.2 days (2017: instruments are denominated in risks, continue to be sales volumes, 6.9 days) beating the BBFC’s 8 day sterling. turnaround times, operating costs business target. and level of cash generated from Borrowing facilities operations. The BBFC continues to The BBFC works in partnership monitor and review its operational with different industry sectors (for As at 31 December 2018, the procedures with the aim of providing example, VOD platforms, mobile company had undrawn committed the best and most cost-effective network operators, broadcasters) borrowing facilities of £11,221 (2017: services to its customers. to develop consistent, transparent, £26,877). best-practice non-statutory regulatory The Company has been saving over services that apply trusted BBFC This report was approved by the a number of years for an anticipated standards online on a voluntary basis board and signed on its behalf. major investment in the technology in order to help families choose infrastructure. During 2018 we have online content well and protect David Austin invested £0.6m in substantially children. Although current levels Chief Executive Officer updating the BBFC’s technology of income for such services are systems, workflow infrastructure moderate at 19% (2017: 12%) of total 3 April 2019 and in developing technology fee income, this presents an increase based tools for online classification. of 46% on the previous year. Significant investment will continue in 2019. Consequently, we will be Brexit able to provide a more cost efficient and speedy service, including to The UK’s decision to leave the EU is those operating in the non-statutory likely to result in the short to medium regulatory landscape. term period of economic and political

51 Directors’ report for the year ended 31 December 2018

The directors present their report and Company law requires the directors to safeguard the health and safety the financial statements for the year to prepare financial statements of its employees, customers and the ended 31 December 2018. for each financial year. Under that community. law the directors have elected to Results prepare the financial statements in Disclosure of information to auditor accordance with United Kingdom The loss for the year, after taxation, Generally Accepted Accounting The directors confirm that: amounted to £421,878 (2017: profit Practice (United Kingdom Accounting £1,179,948). Standards and applicable law, • so far as each director is including FRS 102 ‘The Financial aware, there is no relevant Directors Reporting Standard applicable in the audit information of which the UK and Republic of Ireland’). Under Company’s auditor is unaware, and The Directors of the company are company law the directors must not • the directors have taken all the the members of the Council of approve the financial statements steps that they ought to have Management together with the unless they are satisfied that they taken as directors in order to make President. give a true and fair view of the state themselves aware of any relevant of affairs and profit or loss of the audit information and to establish The Directors who served during the Company for that period. In preparing that the Company’s auditor is year were: these financial statements, the aware of that information. directors are required to: M Carver Auditor Chair • select suitable accounting policies (resigned 1 January 2019) and then apply them consistently; The auditor, Grant Thornton UK LLP, • make judgements and accounting will be proposed for reappointment in S Alleyne estimates that are reasonable and accordance with section 485 of the Chair of the Remuneration Committee prudent; Companies Act 2006. • prepare the financial statements on L A Mackenzie the going concern basis unless it is This report was approved by the Chair of the Finance Committee inappropriate to presume that the board and signed on its behalf. • Company will continue in business. P L Swaffer S Alleyne President The directors are responsible for Director keeping adequate accounting D J R Austin records that are sufficient to 3 April 2019 Chief Executive Officer show and explain the Company’s transactions and disclose with M Alcock reasonable accuracy at any time the financial position of the Company A Hastings and enable them to ensure that the Vice President financial statements comply with the (resigned 2 November 2018) Companies Act 2006. They are also responsible for safeguarding the G Lemos Vice President assets of the Company and hence (resigned 20 April 2018) for taking reasonable steps for the prevention and detection of fraud J S P Teckman and other irregularities.

The Council of Management would The directors are responsible for like to record their thanks to Maggie the maintenance and integrity of the Carver who resigned in January 2019, corporate and financial information and Alison Hastings and Gerard included on the Company’s website. Lemos, who resigned in 2018, for Legislation in the United Kingdom their long and dedicated service as governing the preparation and directors. dissemination of financial statements may differ from legislation in other Directors’ responsibilities jurisdictions. statement Environment, Health and Safety The directors are responsible for preparing the Strategic Report, the The company is firmly committed Directors’ Report and the financial to managing its activities so as statements in accordance with to provide the highest level of applicable law and regulations. protection to the environment and

52 Independent auditor’s report to the Members of British Board of Film Classification

Opinion Conclusions relating to going Opinions on other matters concern prescribed by the Companies Act We have audited the financial 2006 statements of British Board of Film We have nothing to report in respect Classification (the ‘Company’) for of the following matters in relation In our opinion, based on the work the year ended 31 December 2018, to which the ISAs (UK) require us to undertaken in the course of the audit: which comprise the Statement report to you where: of Comprehensive Income, the • the information given in the Statement of Financial Position, • the directors’ use of the going Strategic Report and the Directors’ the Statement of Cash Flows, the concern basis of accounting in Report for the financial year for Statement of Changes in Equity and the preparation of the financial which the financial statements are notes to the financial statements, statements is not appropriate; or prepared is consistent with the including a summary of significant • the directors have not disclosed financial statements; and accounting policies. The financial in the financial statements any • the Strategic Report and the reporting framework that has been identified material uncertainties Directors’ Report have been applied in their preparation is that may cast significant doubt prepared in accordance with applicable law and United Kingdom about the Company’s ability to applicable legal requirements. Accounting Standards, including continue to adopt the going Financial Reporting Standard 102 concern basis of accounting for a Matter on which we are required ‘The Financial Reporting Standard period of at least twelve months to report under the Companies Act applicable in the UK and Republic of from the date when the financial 2006 Ireland’ (United Kingdom Generally statements are authorised for Accepted Accounting Practice). issue. In the light of the knowledge and understanding of the Company and In our opinion, the financial Other information its environment obtained in the statements: course of the audit, we have not The directors are responsible identified material misstatements in • give a true and fair view of the for the other information. The the Strategic Report or the Directors’ state of the Company’s affairs as other information comprises the Report. at 31 December 2018 and of its information included in the Annual surplus for the year then ended; Report, other than the financial Matters on which we are required • have been properly prepared in statements and our Auditor’s Report to report by exception accordance with United Kingdom thereon. Our opinion on the financial Generally Accepted Accounting statements does not cover the other We have nothing to report in respect Practice; and information and, except to the extent of the following matters in relation • have been prepared in accordance otherwise explicitly stated in our to which the Companies Act 2006 with the requirements of the report, we do not express any form of requires us to report to you if, in our Companies Act 2006. assurance conclusion thereon. opinion:

Basis for opinion In connection with our audit of • adequate accounting records have the financial statements, our not been kept, or returns adequate We conducted our audit in responsibility is to read the for our audit have not been accordance with International other information and, in doing received from branches not visited Standards on Auditing (UK) (ISAs so, consider whether the other by us; or (UK)) and applicable law. Our information is materially inconsistent • the financial statements are not responsibilities under those with the financial statements or in agreement with the accounting standards are further described in the our knowledge obtained in the records and returns; or Auditor’s responsibilities for the audit audit or otherwise appears to be • certain disclosures of directors’ of the financial statements section materially misstated. If we identify remuneration specified by law are of our report. We are independent such material inconsistencies or not made; or of the Company in accordance with apparent material misstatements, we • we have not received all the the ethical requirements that are are required to determine whether information and explanations we relevant to our audit of the financial there is a material misstatement require for our audit. statements in the UK, including in the financial statements or a the FRC’s Ethical Standard, and material misstatement of the other Responsibilities of directors for the we have fulfilled our other ethical information. If, based on the work financial statements responsibilities in accordance with we have performed, we conclude these requirements. We believe that that there is a material misstatement As explained more fully in the the audit evidence we have obtained of this other information, we are Directors’ Responsibilities Statement is sufficient and appropriate to required to report that fact. on page 52, the directors are provide a basis for our opinion. responsible for the preparation of the We have nothing to report in this financial statements and for being regard. satisfied that they give a true and fair view, and for such internal control as

53 Independent auditor’s report to the Members of British Board of Film Classification the directors determine is necessary Use of our report to enable the preparation of financial statements that are free from material This report is made solely to the misstatement, whether due to fraud Company’s members, as a body, in or error. accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our In preparing the financial statements, audit work has been undertaken the directors are responsible for so that we might state to the assessing the Company’s ability Company’s members those matters to continue as a going concern, we are required to state to them disclosing, as applicable, matters in an Auditor’s Report and for no related to going concern and other purpose. To the fullest extent using the going concern basis of permitted by law, we do not accept accounting unless the directors either or assume responsibility to anyone intend to liquidate the Company or to other than the Company and the cease operations, or have no realistic Company’s members as a body, for alternative but to do so. our audit work, for this report, or for the opinions we have formed. Auditor’s responsibilities for the audit of the financial statements Sergio Cardoso Senior Statutory Auditor for and on Our objectives are to obtain behalf of Grant Thornton UK LLP reasonable assurance about whether Statutory Auditor, Chartered the financial statements as a whole Accountants are free from material misstatement, London whether due to fraud or error, and to issue an Auditor’s Report that 3 April 2019 includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.

A further description of our responsibilities for the audit of the financial statements is located on the Financial Reporting Council’s website at: www.frc.org. uk/auditorsresponsibilities. This description forms part of our Auditor’s Report.

54 Statement of Comprehensive Income for the year ended 31 December 2018

Note 2018 2017

£ £

Turnover 4 5,572,520 5,554,457

Operating costs (5,957,690) (4,817, 733)

Gross (loss)/profit (385,170) 736,724

Other operating income 5 163,494 150,113

Fair value loss on investment property (3,943) -

Operating (loss)/profit 10 (225,619) 886,837

(Loss)/gain on financial assets at fair value (443,614) 420,477

Interest receivable and similar income 6 184,781 222,669

Interest payable and charges 7 (1,941) (14,750)

(Loss)/profit before tax (486,393) 1,515,233

Tax on (loss)/profit 12 64,515 (335,285)

(Loss)/profit for the financial year (421,878) 1,179,948

Total comprehensive income for the year (421,878) 1,179,948

There were no recognised gains and losses for 2018 or 2017 other than those included in the statement of comprehensive income.

The notes on pages 59 to 70 form part of these financial statements.

55 Statement of Financial Position as at 31 December 2018

Note 2018 2017

£ £ Fixed assets

Tangible assets 13 3,038,542 3,025,695

Investments 15 7,180,443 7,358,057

Investment property 14 3,536,087 3,540,030

13,755,072 13,923,782

Current assets

Debtors: amounts falling due within one year 16 988,442 863,956

Cash at bank and in hand 17 2,252,436 2,659,390

3,240,878 3,523,346

Creditors: amounts falling due within one year 18 (1 ,367 ,030) (1 ,340,338)

Net current assets 1,873,848 2,183,008

Total assets less current liabilities 15,628,920 16,106,790

Provisions for liabilities

Deferred tax 20 (261,979) (317,971)

(261,979) (317,971)

Net assets 15,366,941 15,788,819

Capital and reserves

Profit and loss account 21 15,366,941 15,788,819

15,366,941 15,788,819

The financial statements were approved and authorised for issue by the board and were signed on its behalf on 3 April 2019.

S Alleyne - Director

L A Mackenzie - Director

The notes on pages 59 to 70 form part of these financial statements.

56 Statement of Changes in Equity for the year ended 31 December 2018

Profit and loss account Total equity £ £

At 1 January 2018 15,788,819 15,788,819

Comprehensive income for the year

Loss for the year (421,878) (421,878)

Total comprehensive income for the year (421,878) (421,878)

At 31 December 2018 15,366,941 15,366,941

Statement of Changes in Equity for the year ended 31 December 2017

Profit and loss account Total equity £ £

At 1 January 2017 14,608,871 14,608,871

Comprehensive income for the year

Surplus for the year 1,179,948 1,179,948

Total comprehensive income for the year 1,179,948 1,179,948

At 31 December 2017 15,788,819 15,788,819

The notes on pages 59 to 70 form part of these financial statements.

57 Statement of Cash Flows for the year ended 31 December 2018

2018 2017

£ £

Cash flows from operating activities (Loss)/profit for the financial year (421,878) 1,179,948

Adjustments for:

Depreciation of tangible assets 147,714 133,128 Interest paid 1,941 14,750 Interest received (184,781) (222,669) Taxation charge (64,515) 335,285 Decrease/(increase) in debtors 297,666 (339,660) (Decrease) in creditors (115,377) (155,305) Net fair value losses recognised in P&L 3,943 - Corporation tax (paid) (268,408) (147,613) Loss/(gain) on assets 444,457 (421,007)

Net cash generated from operating activities (159,238) 376,857

Cash flows from investing activities Purchase of tangible fixed assets {59,679) (46,982) Sale of tangible fixed assets 296 530 Purchase of listed investments (266,000) (3,475,826) Sale of listed investments - 3,522,578 Interest received 10,582 17,949 Dividends received 174,199 204,720

Net cash from investing activities (140,602) 222,969

Cash flows from financing activities Repayment of loans (105,173) (283,989) Interest paid (1,941) (14, 750)

Net cash used in financing activities (107,114) (298, 739)

Net (decrease)/increase in cash and cash equivalents (406,954) 301,087

Cash and cash equivalents at beginning of year 2,659,390 2,358,303

Cash and cash equivalents at the end of year 2,252,436 2,659,390

Cash and cash equivalents at the end of year comprise: Cash at bank and in hand 2,252,436 2,659,390

2,252,436 2,659,390 The notes on pages 59 to 70 form part of these financial statements.

58 Notes to the Financial Statements for the year ended 31 December 2018

1. General information

British Board of Film Classification is a private company limited by guarantee & incorporated in England and Wales. Its registered head office is located at 3 Soho Square, London, W1 D 3HD.

2. Accounting policies

2.1 Basis of preparation of financial statements

The financial statements have been prepared under the historical cost convention and in accordance with Financial Reporting Standard 102, the Financial Reporting Standard applicable in the United Kingdom and the Republic of Ireland and the Companies Act 2006.

The preparation of financial statements in compliance with FRS 102 requires the use of certain critical accounting estimates. It also requires management to exercise judgement in applying the company’s accounting policies (see note 3).

The following principal accounting policies have been applied:

2.2 Going concern

The directors have prepared the financial statements on the going concern basis having projected cashflow and operating forecasts for the business for a period of at least 12 months from the date of signing these financial statements. In considering the going concern assumption, the directors have also taken into account the balance sheet position at the date of signature of these financial statements.

2.3 Revenue

Revenue is recognised to the extent that it is probable that the economic benefits will flow to the company and the revenue can be reliably measured. Revenue is measured as the fair value of the consideration received or receivable, excluding discounts, rebates, value added tax and other sales taxes.

2.4 Tangible fixed assets

Tangible fixed assets are stated at ordinal cost. Depreciation is provided at rates calculated to write off the cost, less estimated residual value of each asset on a straight line basis over its estimated useful life, as follows:

Depreciation is provided on the following basis: Fixtures and fittings - 4 years Computer equipment - 4 years Building improvements - 5 years

Long leasehold property is amortised on a straight line basis over the duration of the lease.

Expenditure on leasehold property and immovable furniture and equipment is fully depreciated in the year of acquisition.

2.5 Investment property

Investment property is carried at fair value and derived from the current market rents and investment property yields for comparable real estate, adjusted if necessary for any difference in the nature, location or condition of the specific asset. No depreciation is provided. Changes in fair value are recognised in the Statement of Comprehensive Income.

2.6 Valuation of investments

Investments in listed company shares are remeasured to market value at each Statement of financial position date. Gains and losses on remeasurement are recognised in the Statement of Comprehensive Income for the period.

2.7 Debtors

Short term debtors are measured at transaction price, less any impairment.

59 Notes to the Financial Statements for the year ended 31 December 2018

2.8 Cash and cash equivalents

Cash is represented by cash in hand and deposits with financial institutions repayable without penalty on notice of not more than 24 hours. Cash equivalents are highly liquid investments that mature in no more than three months from the date of acquisition and that are readily convertible to known amounts of cash with insignificant risk of change in value.

2.9 Financial instruments

The Company only enters into basic financial instrument transactions that result in the recognition of financial assets and liabilities like trade and other debtors and creditors, loans from banks and other third parties, loans to related parties and investments in non-puttable ordinary shares.

Debt instruments (other than those wholly repayable or receivable within one year), including loans and other accounts receivable and payable, are initially measured at present value of the future cash flows and subsequently at amortised cost using the effective interest method. Debt instruments that are payable or receivable within one year, typically trade debtors and creditors, are measured, initially and subsequently, at the undiscounted amount of the cash or other consideration expected to be paid or received. However, if the arrangements of a short-term instrument constitute a financing transaction, like the payment of a trade debt deferred beyond normal business terms or financed at a rate of interest that is not a market rate or in the case of an out-right short-term loan not at market rate, the financial asset or liability is measured, initially, at the present value of the future cash flow discounted at a market rate of interest for a similar debt instrument and subsequently at amortised cost.

Investments in non-convertible preference shares and in non-puttable ordinary and preference shares are measured: • at fair value with changes recognised in the Statement of Comprehensive Income if the shares are publicly traded or their fair value can otherwise be measured reliably; • at cost less impairment for all other investments.

Financial assets that are measured at cost and amortised cost are assessed at the end of each reporting period for objective evidence of impairment. If objective evidence of impairment is found, an impairment loss is recognised in the Statement of Comprehensive Income.

For financial assets measured at amortised cost, the impairment loss is measured as the difference between an asset’s carrying amount and the present value of estimated cash flows discounted at the asset’s original effective interest rate. If a financial asset has a variable interest rate, the discount rate for measuring any impairment loss is the current effective interest rate determined under the contract.

For financial assets measured at cost less impairment, the impairment loss is measured as the difference between an asset’s carrying amount and best estimate of the recoverable amount, which is an approximation of the amount that the Company would receive for the asset if it were to be sold at the reporting date.

Financial assets and liabilities are offset and the net amount reported in the Statement of Financial Position when there is an enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

2.10 Creditors

Short term creditors are measured at the transaction price. Other financial liabilities, including bank loans, are measured initially at fair value, net of transaction costs, and are measured subsequently at amortised cost using the effective interest method.

60 Notes to the Financial Statements for the year ended 31 December 2018

2.11 Pensions

Defined contribution pension plan

The Company operates a defined contribution plan for its employees. A defined contribution plan is a pension plan under which the Company pays fixed contributions into a separate entity. Once the contributions have been paid the Company has no further payment obligations.

The contributions are recognised as an expense in the Statement of Comprehensive Income when they fall due. Amounts not paid are shown in accruals as a liability in the Statement of Financial Position. The assets of the plan are held separately from the Company in independently administered funds.

2.12 Holiday pay accrual

A liability is recognised to the extent of any unused holiday pay entitlement which is accrued at the Statement of Financial Position date and carried forward to future periods. This is measured at the undiscounted salary cost of the future holiday entitlement so accrued at the Statement of Financial Position date.

2.13 Interest income

Interest income is recognised in the Statement of Comprehensive Income using the effective interest method.

2.14 Provisions for liabilities

Provisions are made where an event has taken place that gives the Company a legal or constructive obligation that probably requires settlement by a transfer of economic benefit, and a reliable estimate can be made of the amount of the obligation.

Provisions are charged as an expense to the Statement of Comprehensive Income in the year that the Company becomes aware of the obligation, and are measured at the best estimate at the Statement of Financial Position date of the expenditure required to settle the obligation, taking into account relevant risks and uncertainties.

When payments are eventually made, they are charged to the provision carried in the Statement of Financial Position.

2.15 Current and deferred taxation

The tax expense for the year comprises current and deferred tax. Tax is recognised in the Statement of Comprehensive Income, except that a change attributable to an item of income and expense recognised as other comprehensive income or to an item recognised directly in equity is also recognised in other comprehensive income or directly in equity respectively.

The current income tax charge is calculated on the basis of tax rates and laws that have been enacted or substantively enacted by the reporting date in the countries where the company operates and generates income.

Deferred balances are recognised in respect of all timing differences that have originated but not reversed by the Statement of financial position date, except that:

• The recognition of deferred tax assets is limited to the extent that it is probable that they will be recovered against the reversal of deferred tax liabilities or other future taxable profits; and

• Any deferred tax balances are reversed if and when all conditions for retaining associated tax allowances have been met.

61 Notes to the Financial Statements for the year ended 31 December 2018

2.16 Research and development

In the research phase of an internal project it is not possible to demonstrate that the project will generate future economic benefits and hence all expenditure on research shall be recognised as an expense when it is incurred. Intangible assets can be recognised from the development phase of a project if and only if certain specific criteria are met in order to demonstrate the asset will generate probable future economic benefits and that its cost can be reliably measured. At this point, management have the option to either expense or capitalise development costs. Management have taken the option to expense all development costs incurred.

If it is not possible to distinguish between the research phase and the development phase of an internal project, the expenditure is treated as if it were all incurred in the research phase only.

3. Judgements in applying accounting policies and key sources of estimation uncertainty

Management consider there to be a key judgement to be in relation to the market value of property. See note 15.

Management use their judgement when determining whether trade debtors and accrued income are considered recoverable or where a provision for impairment is considered necessary. The assessment of recoverability will include consideration of whether the balance is with a long standing client, whether the customer is experiencing financial difficulties and the fact that balances are recognised under contract. Management consider a bad debt provision to not be necessary.

2018 2017

£ £

4. Turnover

An analysis of turnover by class of business is as follows:

Classfication income 4,878,657 4,967,158

Age-verification income 693,863 587,299

5,572,520 5,554,457

The turnover and operating surplus are attributable to the principal activities of the company. The entire turnover in both periods is attributable to geographical areas within the United Kingdom.

2018 2017

£ £

5. Other operating income

Income from education seminars 5,093 3,931

Rents receivable and service charge income 158,401 145,652

Other - 530

163,494 150,113

62 Notes to the Financial Statements for the year ended 31 December 2018

2018 2017

£ £

6. Interest receivable

Other interest and similar income 184,781 222,669

7 . Interest payable and similar charges

Interest on loan repayable 1,941 14,750

8. Employees

Staff costs, including directors’ remuneration, were as follows:

Wages and salaries (including severance pay) 2,364,676 2,468,997

Social security costs 249,640 259,845

Cost of defined contribution scheme 151,581 164,444

2,765,897 2,893,286

The average monthly number of employees, including the directors, during the year was as follows:

2018 2017

No. No.

Non-executive directors 7 8

Presidential team 1 -

Management 4 4

Administration 12 12

Operations 26 27

50 51

In 2017 the presendential team were included within non-executive directors. The two Vice Presidents appointed in 2018 are not acting as directors.

63 Notes to the Financial Statements for the year ended 31 December 2018

2018 2017

£ £

9. Directors’ remuneration

Directors’ emoluments 320,471 336,947

Company contributions to defined contribution pension schemes 24,906 28,094

345,377 365,041

During the year retirement benefits were accruing to 4 directors (2017 - 4) in respect of defined contribution pension schemes.

The highest paid director received remuneration of £172,515 (2017- £171,565).

The value of the company’s contributions paid to a defined contribution pension scheme in respect of the highest paid director amounted to £17,803 (2017- £17,073).

The directors are considered to be key management.

2018 2017

£ £

10. Operating (loss)/profit

The operating surplus is stated after charging:

Directors’ remuneration 345,377 365,041

Depreciation of tangible fixed assets 147,728 128,016

Research and development expenditure 613,014 132,929

Guidelines research 205,663 -

11. Auditor’s remuneration

Fees payable to the Company’s auditor and its associates for the 17,050 16,550 audit of the Company’s annual financial statements

Fees payable to the Company’s auditor and its associates in respect of: Non audit services 21,778 25,100

64 Notes to the Financial Statements for the year ended 31 December 2018

2018 2017

£ £

12. Taxation

Corporation tax

Current tax on profits for the year - 267,822

Adjustments in respect of previous periods (53,213) -

Total current tax (53,213) 267,822

Deferred tax

Origination and reversal of timing differences (11,510) 67,463

Adjustments in respect of prior periods 208 -

Total deferred tax (11,302) 67,463

Taxation on (loss)/profit on ordinary activities (64,515) 335,285

Factors affecting tax charge for the year

The tax assessed for the year is lower than (2017: higher than) the standard rate of corporation tax in the UK of 19.00% (2017: 19.25%). The differences are explained below: 2018 2017

£ £

(Loss)/profit on ordinary activities before tax (486,393) 1,515,233

Profit on ordinary activities multiplied by standard rate of corporation tax in the UK of 19.00% (2017: 19.25%) (92,415) 291,630 Effects of: Expenses not deductible for tax purposes 75,113 5,534

Fixed asset differences 23,620 21,742

Adjust opening deferred tax to average rate of 19.00% 32,175 (8,915)

Adjust closing deferred tax to average rate of 19.00% (30,821) -

Adjustments to tax charge in respect of previous periods (53,203) (72,466)

Adjustments to tax charge in respect of previous periods - deferred tax 208 -

Investment gains/losses not taxable - 55,638

Other timing differences - 70,602

Exempt ABGH distributions (24,179) (28,480)

Adjustments to brought forward values (48,113) -

Losses carried back 53,100 -

Total tax charge for the year (64,515) 335,285

65 Notes to the Financial Statements for the year ended 31 December 2018

13. Tangible fixed assets Long Long leasehold Fixtures leasehold Computer property and property equipment expenditure fittings Total

£ £ £ £ £

Cost or valuation At 1 January 2018 3,137,264 541,922 240,336 318,002 4,237,524 Additions - 93,137 15,991 52,930 162,058 Disposals - (32,279) - (58,535) (90,814)

At 31 December 2018 3,137,264 602,780 256,327 312,397 4,308,768

Depreciation

At 1 January 2018 368,105 460,703 91,634 291,387 1,211,829

Charge for the year on owned assets 25,098 53,989 49,799 18,720 147,606 Disposals - (31,305) - (57,904) (89,209)

At 31 December 2018 393,203 483,387 141,433 252,203 1,270,226

Net book value

At 31 December 2018 2,744,061 119,393 114,894 60,194 3,038,542

At 31 December 2017 2,769,159 81,219 148,702 26,615 3,025,695

Long term 14. Investment property leasehold investment property £ Valuation

At 1 January 2018 3,540,030

Deficit on revaluation (3,943)

At 31 December 2018 3,536,087

The 2018 valuation was made by Reid Rose Gregory Limited, a firm of chartered surveyors, on an open market value for existing use basis.

66 Notes to the Financial Statements for the year ended 31 December 2018

15. Fixed asset investments Listed investments

£

Cost or valuation

At 1 January 2018 7,358,057

Additions 266,000

Revaluations (443,614)

At 31 December 2018 7,180,443

Net book value

At 31 December 2018 7,180,443

At 31 December 2017 7,358,057

2018 2017

£ £ 16. Debtors

Trade debtors 308,559 347,833

Other debtors 32,994 19,985

Prepayments and accrued income 593,090 451,448

Tax recoverable 53,799 -

Deferred taxation - 44,690

988,442 863,956

Included in prepayments and accrued income is Age-verification income of £456,544 (2017: £286,599).

2018 2017

£ £

17. Cash and cash equivalents

Cash at bank and in hand 2,252,436 2,659,390

This balance includes Cofunds cash on deposit balance of £171,264 (2017: £282,415).

67 Notes to the Financial Statements for the year ended 31 December 2018

2018 2017

£ £

18. Creditors: Amounts falling due within one year

Bank loans - 105,174

Trade creditors 337,235 77,878

Corporation tax - 267,822

Other taxation and social security 539 133,649

Other creditors 11,221 9,255

Accruals and deferred income 1,018,035 746,560

1,367,030 1,340,338

2018 2017

£ £

19. Bank loans

Analysis of the maturity of loans is given below:

Amounts falling due within one year

Bank loans - 105,174

68 Notes to the Financial Statements for the year ended 31 December 2018

2018 2017

£ £

20. Deferred taxation

At beginning of year (273,281) (205,818)

Charged to the profit or loss 11,302 (67,463)

At end of year (261,979) (273,281)

The provision for deferred taxation is made up as follows:

Provisions b/fwd (273,281) (205,818)

Current year charge at 17% (PY 17 %) 11,302 (67,463)

(261,979) (273,281)

Comprising:

Asset - 44,690

Liability (261,979) (317,971)

(261,979) (273,281)

21. Reserves

Profit and loss account

Includes all current and prior period retained surplus and losses.

22. Capital commitments

The company has no capital commitments at 31 December 2018 (2017: £Nil), however the software system is in the progress of being upgraded.

23. Pension commitments

The company operates a defined contribution scheme to provide retirement benefits for staff. The total pension charge for the year was £151,581 (2017: £164,444). There are no balances outstanding in relation to pensions at year end.

69 Notes to the Financial Statements for the year ended 31 December 2018

24. Commitments under operating leases

At 31 December 2018 the Company had future minimum lease payments under non-cancellable operating leases as follows:

2018 2017

£ £ Not later than 1 year 37,500 37,500

Later than 1 year and not later than 5 years 150,000 150,000

Later than 5 years 4,103,125 4,140,625

4,290,625 4,328,125

Equipment

Not later than 1 year 4,048 4,048

Later than 1 year and not later than 5 years 3,170 4,611

7,254 8,659

25. Company status

The company is limited by guarantee and is under the control of its members. The liability of the members is limited to £1 each, in the event of the company being wound up.

26. Related party transactions

There were no transactions with related parties during the year (2017: £Nil).

70 Photographic credits

The BBFC would like to give Roma © Netflix Services UK Ltd. Universal Pictures UK special thanks to all the distributors Sacred Games © Netflix Services UK Blackkklansman © Universal supplying images to the BBFC Ltd. Pictures Annual Report 2018. Halloween © Universal Pictures 20th Century Fox Film Co. Ltd Paramount Pictures Ltd Mamma Mia! Here We Go Again Bohemian Rhapsody © 2019 Bumblebee © 2018 Paramount © Universal Pictures Twentieth Century Fox Home Pictures. All Rights Reserved. The Grinch © Universal Pictures Entertainment LLC. All Rights Hasbro, Transformers, and all related Reserved. characters are trademarks of Hasbro. © 2018 Hasbro. All Rights Reserved. Vertigo Releasing Ltd Deadpool 2, Once Upon A Deadpool © 2019 Twentieth Century Mission Impossible: Fallout © Revenge © Vertigo Releasing Fox Home Entertainment LLC. All 2019 Paramount Pictures. All Rights Rights Reserved, © 2019 Marvel. Reserved. Walt Disney Studios Motion Pictures (UK) WDSMP Maze Runner: The Death Cure Phoenix Productions © 2019 Twentieth Century Fox Ant-Man and the Wasp © 2018 Home Entertainment LLC. All Rights Kler © Dawid Andrzejczak & Phoenix Marvel Reserved. Productions LLC. Incredibles 2 ©2018 Disney/Pixar © 2019 Twentieth Red Sparrow Signature Entertainment Mary Poppins Returns ©2018 Disney Century Fox Home Entertainment LLC. All Rights Reserved. A Wizard’s Tale © 2018 Under Warner Brothers Entertainment UK Exclusive License to Signature Ltd The Hate U Give © 2019 Twentieth Entertainment Ltd. Century Fox Home Entertainment The 15:17 to Paris © 2019 Warner LLC. All Rights Reserved. The Little Vampire © 2018 Under Bros Ent. All Rights Reserved. Exclusive License to Signature Entertainment Ltd. Ready Player One © 2019 Warner Ayngaran International Bros Ent. All Rights Reserved. © Ayngaran International. 2.0 Sony/Columbia Pictures Smallfoot © 2019 Warner Bros Ent. Goosebumps 2: Haunted Halloween All Rights Reserved. Entertainment Film Dists Ltd © 2018 Columbia Pictures Industries, The Festival © Entertainment Film Inc. All Rights Reserved. Design and production Dists Ltd. All design and production Hotel Transylvania 3 © 2018 Sony © GNB Communications Pictures Animation Inc. and MRC II www.gnbcommunications.com Entertainment One UK Distribution Company L.P. All Rights Green Book © Entertainment One Reserved. UK Ltd. Peter Rabbit © 2018 Columbia Pictures Industries, Inc., 2.0 Eros International Entertainment Financing, LLC and Batti Gul Meter Chalu © Eros MRC II Distribution Company L.P. International. All Rights Reserved. | Peter Rabbit and all associated characters ™ & © Frederick Warne & Co Limited. Lionsgate UK Ltd My Generation Courtesy of Venom © 2018 Columbia Pictures Lionsgate International (UK). Industries, Inc. and Tencent Pictures (USA) LLC. All Rights Reserved. | On Chesil Beach Courtesy of Marvel and all related character Lionsgate International (UK). names: © & ™ 2019 Marvel.

MUBI Studio Canal Touch Me Not © MUBI. Early Man © 2018 / StudioCanal - British Film Institute Netflix Services UK Limited Trafalgar Releasing Ltd 13 Reasons Why © Netflix Services UK Ltd. RSC: Troilus and Cressida Photo by Helen Maybanks © RSC The Ballad of Buster Scruggs © Netflix Services UK Ltd. Bird Box © Netflix Services UK Ltd. Black Mirror: Bandersnatch © Netflix Services UK Ltd.

71

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