Page

3 Key points 5 Executive summary

8 1 Introduction 8 1.1 Background 8 1.2 Aims 8 1.3 Timescale 8 1.4 Sector

9 2 Methods 9 2.1 Introduction 9 2.2 Responses

10 3 Results 10 3.1 Year of establishment 10 3.2 Membership 12 3.3 Admissions 13 3.4 Provision 15 3.5 Programming 17 3.6 Administration 18 3.7 The benefits of community exhibition 19 3.8 Using Cinema For All services and resources 20 3.9 Rating Cinema For All services and resources 21 3.10 BFI Film Audience Network and BFI Neighbourhood Cinema Fund

23 Appendix 1: 2014/15 film list 29 Appendix 2: Feedback on Cinema For All

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‘Cinema For All’ is brought to increased areas of the country by ever more local groups and community- minded organisations across the UK:  Responding community exhibitors recorded around 127,4131 admissions in 2014/15. Theatrical ticket sales on this scale would have generated box office revenues of almost £900k2.  The average audience size of responding community exhibitors was 64, with 44% of respondents recording an increase in audiences and 31% recording roughly the same number as in the previous year.  65% of membership organisations saw their membership increase or stay the same over the last year, and average membership stood at 1303.  Responding community exhibitors hosted 25584 screenings in 2014/15.

Community exhibition contributes to the colour and vibrancy of local life, encouraging participation in communal activity and enriching cultural experience with a broad range of programming, special events and educational opportunities:  95% of responding organisations are run as not-for-profit, with 29% having charitable status.  Almost two thirds (62%) formally measure audience reactions to films in order to inform future programming decisions.  Well over half (60%) of all responding organisations held special events in addition to screenings. These included guest appearances by cast or filmmakers to introduce films, quiz nights, film themed social events, complementary special programmes, Q&As, talks, courses.  56% of responding organisations provided programming notes to accompany screenings – 69% in 13/14.  Almost all respondents (98%) cited broadening the range of films available locally as a principal benefit of their operation.  Other recognised benefits include making films more accessible on the big screen (95%), making use of local facilities (88%), providing volunteering opportunities (84%), promoting informal education about film (80%), bringing together different sections of the community (76%), and increasing civic pride in the local area (66%).

Community exhibition represents excellent value for money, ensuring everyone can benefit, even those on low and fixed incomes:  The average full annual membership fee was around £25, and 27% of respondents also offered full year concessionary membership fees (for senior citizens, students, under 21s or under 25s, the unemployed etc.).  32% of organisations that operated a membership system charged an additional admission fee. The average entry fee for members was £4.20 (£5.00 for non-members), compared with the average commercial cinema admission charge of £6.72 (BFI Statistical Yearbook 2015).  Nearly all respondents (96%) identified value for money as one of the key benefits they bring to local audiences.

1 Based on 98 responses to this question. 2 £856215 – based on an average commercial ticket price of £6.72 3 One response of 14000 members was omitted from calculating this average. 4 Based on 108 responses to this question.

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Community exhibitors bring the cinema experience to all parts of the country, satisfying demand left unmet by commercial players and broadening the range of films available:  Respondents programmed 817 different titles in 2014/15, mainly British, foreign language and independent films. . 37 titles were programmed by 10 or more community exhibitors during the year, and 29 of these were either British or foreign language titles.  The top three most programmed titles were The Lunchbox (39), The Grand Budapest Hotel (31) and Pride (28)  Community exhibitors enhance film provision in areas neglected by commercial circuits: . 37% of respondents operated in rural or remote areas (compared with 3% of commercial screens). . On average, film societies and community cinemas were located around 6.5 miles away from the nearest commercial cinema. . 90% of community exhibitors allow the public to attend their screenings, bringing the best of world cinema to an even wider audience.

Cinema For All (formerly BFFS) continues to be highly valued by members and users of its resources and services:  Every Cinema For All service or resource was rated as ‘good’ or ‘very good’ by over 80% of survey respondents who had used that service or resource.  The most highly rated services i.e. rated very good or good, were the National Conference (90%), Booking Scheme (90%), Regional Viewing Sessions (87%), Starter Pack (86%), the Film Society of the Year Awards (86%) and Member Discounts (86%).

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Survey  The questionnaire was sent out to all full, associate and affiliate Cinema For All members and other community cinema organisations on the Cinema For All mailing list. 145 organisations responded to the survey, a response rate of 21%.  The pattern of survey responses broadly mirrored that of the membership population across the UK.

Year of establishment  Almost three quarters (73%) responding organisations were established in 2000 or later, while just over a tenth (12%) were established prior to 1970.

Membership  Two thirds of the community exhibitors that responded (66%) operated a membership system in 2014/15 and the average membership was 1305.  The membership of responding exhibitors stood at 26,1516.  66% of respondents saw their membership rise or stay the same in 2014/15 and 20% saw a decline in numbers compared with 23% in 13/14.  The average full annual membership fee was £24.70.  63% of the responding exhibitors also offered full year concessionary membership fees (for senior citizens, students, under 21s or under 25s, the unemployed etc.).  32% of respondents that operated a membership system charged an additional admission fee, which averaged £4.20 down from £4.40 in 2013/14.  Apart from contact details, respondents most commonly collected age or age range information from members (18% answered yes), followed by gender (14%) and disability (14%). 9% collected details about members’ ethnic background compared with only 1% last year.  30% store these details both electronically (in a spreadsheet, for example) and in hard copy, 9% keep records in hard copy only and 5% use online (cloud) storage such as Dropbox.  Only 19% of respondents offered season tickets (down from 28% in 13/14). Season ticket charges ranged from £10 to £64 with an average of £30, and the average number of season ticket holders stood at 76 in 2014/15.

Admissions and key demographics  The average admission fee on the door was £5 for non-members, which is significantly lower than the average commercial cinema admission charge of £6.72 (BFI Statistical Yearbook 2015).  The average audience size in 2014/15 was 63.  Over half (54%) of responding organisations had average audiences of 60 or fewer per screening, whereas 13% had average audiences of 100 and above.  The largest audience recorded stood at 420.  Responding community exhibitors recorded around 127,4137 admissions in 2014/15. Theatrical ticket sales on this scale would have generated box office revenues of almost £900k8.  As with membership 30% store these details both electronically and in hard copy, 9% keep records in hard copy only and 5% use online (cloud) storage such as Dropbox.

5 One entry of 14000 was omitted for this calculation. 6 One respondent indicated a membership of 14000. 7 Based on 98 responses to this question. 8 Based on an average commercial ticket price of £6.72 Page 5 of 29

Provision  The most commonly used format was DVD (used ‘usually’ or ‘sometimes’ by 96% of responding organisations).  While half (49%) of respondents never used Blu-ray in 2010/11, this fell to 25% in 2013/14 and further still in 14/15: 14% never use this format. Blu-ray was ‘usually’ screened by 51% of respondents, up from 40% in the previous year, while 35% ‘sometimes’ screened using Blu-ray.  Digital screening formats are becoming increasingly accessible to community cinemas, and their use continues to grow although only 23% screened via digital cinema ‘usually’ or ‘sometimes’ in 2014/15 (down from 26% in 2013/14), but 20% ‘usually’ or ‘sometimes’ used online downloads/streaming which is a significant increase on the previous year.  On average, respondents were located 6.5 miles from their nearest commercial cinema, while some were based in a commercial venue the greatest distance was 35 miles.  62% operated in urban locations with 37% in rural areas (7% in remote rural locations more than 10 miles from a large settlement). In contrast less than 3% of commercial cinema screens are located in rural areas according to the BFI9.  91% screen films at least once a month or more with 42% screening 2 or 3 times per month and 13% once a week or more.

Programming  The responding organisations programmed a total of 817 different titles during the 2014/15 season.  70% of titles were screened by only one community exhibitor, indicating the diversity of programming choices made by individual societies.  13 of the 37 films programmed by ten or more exhibitors were British, and 16 were in a foreign language.  The three most programmed films were The Lunchbox (Dabba) (2013), The Grand Budapest Hotel (2014) and Pride (2014).  Over half of respondents (56%) provided programming notes to accompany screenings, and 62% measured audience reaction to films, slightly down on last year (66%).  Almost two thirds (60%) of all responding exhibitors held special events in addition to screenings in 2014/15.

Administration  Nearly all respondents are run as not-for-profit enterprises (95%) with 29% also having charitable status in 2014/15 up from 21% in 13/14.  1% were set up as co-operatives.

Type of exhibitor  The majority (90%) of responding exhibitors described themselves as ‘film societies (48%) or community cinemas’ (42%).

Training  20% of respondents provided training and development opportunities for volunteers or staff, in areas such as health & safety (including first aid), box office systems, attendance at Cinema For All and ICO events and workshops, fund raising, and projection – an increase from 14% in 13/14.  Two thirds (66%) of respondents were happy to take part in Cinema For All research into skills development.

The benefits of community exhibition

9 2.76 % as per BFI Statistical Yearbook 2015 Page 6 of 29

 98% agree that broadening the range of films available, and making it easier to see films on the big screen (95%) were key benefits of community film screenings.  There was almost universal agreement that offering value for money was a key benefit of community exhibition (96%).  Making use of local facilities (88%) and providing volunteering opportunities (84%) were also important benefits.

Customer satisfaction  The NewsReel newsletter (55%) and website (26%) were the most frequently used of Cinema For All services and resources (more than once a month). 88% of respondents had used the Cinema For All website at some time, and 26% used it once a month or more. 75% had used the e-Newsletter once every two to three months or more.  There was a high level of satisfaction with all Cinema For All services and resources. Every Cinema For All service or resource was rated as ‘good’ or ‘very good’ by over 80% of survey respondents who had used that service or resource.  The most highly rated i.e. rated very good or good, were the National Conference (90%), Booking Scheme (90%), Regional Viewing Sessions (88%), Starter Pack (86%), the Film Society of the Year Awards (86%) and Member Discounts (86%).  In 2014 Cinema For All secured a deposit waiver for members using Filmbankmedia. 43% of respondents had taken advantage of this offer and reclaimed their deposit.

The BFI Film Audience Network and Neighbourhood Cinema Fund  68% of responding organisations knew that Cinema For All were a strategic partner of the BFIFAN.  44% were a member of their local BFI FAN Film Hub.  Of those who had not joined, 43% were unaware of the Film Hubs and 45% were unaware of the benefits of joining. 20% also said a lack of time was a factor in not joining while 15% also said the benefits offered by their local Film Hub were not relevant to their type of organisation.  Of those that were a Film Hub member 47% had applied for support and of those 77% had been successful in the main receiving support in the form of bursaries to attend events or training.  82% of respondents have heard of the BFI Neighbourhood Cinema Fund but only 57% had profiles on the BFINCF website.  Although only 22% of respondents had applied to the fund, over half (56%) of those had been successful.  A third of respondents securing equipment through the fund were interested in further support with their new equipment.

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1.1 Background

Cinema For All (the trading name of the British Federation of Film Societies) is the national support and development organisation representing film societies and community cinemas in the UK. Cinema For All raises income, including funding from the BFI, to ensure audiences throughout the UK continue to have access to a wide range of independent British and world cinema.

This tenth annual survey describes in detail the nature of community cinema activity for the benefit of Cinema For All, its members (and other users of its services) and supporters.

Throughout the report comparisons have been made with the results of the last annual survey, published in November 2014 (and available on the Cinema For All website). These, however, should be treated with a degree of caution where real numbers are compared (as opposed to percentages) because different respondents and differing numbers participate in each annual survey.

1.2 Aims

The survey aims to provide Cinema For All, its membership, the wider sector, the British Film Institute and other stakeholders with detailed information about the current make up and operation of film societies and community cinemas in the UK.

As in previous years the survey includes questions about how groups are organised and what services they offer. We have also repeated previous years’ questions about organisations’ satisfaction with Cinema For All services in order to keep up to date with what the sector is looking for from a national support organisation. This year we have also included questions to seek feedback on members’ involvement and experiences of the BFI Film Audience Network and Neighbourhood Cinema Fund.

1.3 Timescale

The questionnaire was designed and administered between May and August 2015, and analysis and reporting took place between October 2015 and January 2016.

1.4 Sector

The term ‘community exhibitors’ is used to describe the full range of organisations served by Cinema For All, which may be volunteer-run or employ some staff, not-for-profit or commercial enterprises. It includes community cinemas and film societies, student film clubs, mobile screening networks, pop-up screenings, independent cinemas with a community remit, arts centres/ theatres operating part-time screens and local film festivals. Findings reported here relate to all community exhibitor respondents unless stated otherwise.

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2.1 Introduction

The survey was hosted on the SurveyMonkey platform (www.surveymonkey.com) and a link to it was sent to all full, associate and affiliate members, plus other relevant organisations known to Cinema For All, in spring 2015. The survey was also publicised in the Cinema For All newsletter. Respondents were asked to complete the questionnaire by the middle of August, and reminders were sent to encourage a good response.

2.2 Responses

In total, 145 organisations responded to the survey, a response rate of 21%. Table 2.1 gives the number of survey responses from each nation and region:

Table 2.1: Survey responses by nation and region Number of % Nation/region responses South East 26 27 South West 20 21 Scotland 12 12 North West 9 9 London 7 7 Yorkshire 6 6 West Midlands 4 4 Wales 3 3 North East 3 3 Northern Ireland 2 2 East of England 2 2 East Midlands 2 2 Channel Islands 1 1 Total 97 100 * does not sum 100% due to rounding Not every respondent gave their nation/region or an address

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3.1 Year of establishment

Almost three quarters (73%) responding organisations were established in 2000 or later, while just over a tenth (12%) were established prior to 1970 (Table 3.1):

Table 3.1: Year of establishment Decade # % 1920s and earlier 0 0 1930s 1 1 1940s 3 3 1950s 3 3 1960s 4 5 1970s 3 3 1980s 6 7 1990s 5 6 2000s 36 38 Since 2010 33 35 Total 94 100 # = number of respondents to this question

3.2 Membership

Section one asked respondents about membership fees, charges for admissions, season tickets as well as the level of membership within organisations.

3.2.1 Membership

65% of community exhibitors that responded operated a membership system of some description in 2014/15.

The average (mean) membership size was 130, down from 156 in 2013/14. The smallest membership was 15 and the largest was 780. A response of 14000 was not counted in the average. The total membership of all respondents stood at 26,151.

While one quarter of respondents saw their membership fall over the course of 2013/14 (23%), only 19% saw their membership fall in 14/15 while 30% saw their membership increase.

3.2.2 Membership fees

The average full annual membership fee was around £25 a decrease from £29 in 14/15. 27% of respondents also offered full year concessionary membership fees (for senior citizens, students, under 21s or under 25s, the unemployed etc.). The lowest membership fee was £2, the most expensive £67. As shown in Table 3.2, around one quarter of responding societies (26%) had a membership fee of £10.00 or less, while almost half fell in the £21 to £40 range.

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Table 3.2: Full membership fees Full membership fee # % £10 or less 23 26 £11 to £20 15 17 £21 to £30 23 26 £31 to £40 19 22 £41 to £50 5 6 £51+ 3 3 Total 88 100

 32% of organisations that operated a membership system charged an additional admission fee. The average entry fee for members was £4.20 (£5.00 for non-members), compared with the average commercial cinema admission charge of £6.72 (BFI Statistical Yearbook 2015).

 60% of respondents who operated a membership scheme also offered full year concessionary membership fees (for senior citizens, students, under 21s or under 25s, the unemployed etc.).

 The average full annual membership fee was around £25, and 27% of respondents also offered full year concessionary membership fees (for senior citizens, students, under 21s or under 25s, the unemployed etc.).  32% of organisations that operated a membership system charged an additional admission fee. The average entry fee for members was £4.20 (£5.00 for non-members), compared with the average commercial cinema admission charge of £6.72 (BFI Statistical Yearbook 2015).

3.2.3 Membership information For the third year we asked respondents about the types of information they collect from members, in an effort to understand what sources might be available in future to build a more detailed picture of the composition of community exhibition membership.

Respondents most commonly collected gender details (26% answered yes), followed by age (18%) and disability (14%). Only 7% of respondents collected details about members’ ethnic background.

We also asked how membership organisations store these personal details. 35% store them electronically (e.g. in a computer spreadsheet), 7% keep records in hard copy only, 38% use both methods and 3.5% use online Cloud storage.

3.2.4 Season tickets

Less than 20% of respondents offered season tickets down from 28% in 2013/14. The mean cost of a season ticket was £29.85, and charges ranged from £10 to £64. The average (mean) number of season ticket holders stood at 76, down from 81 in 2014/15.

3.2.5 Entry prices

The majority (91%) of respondents allow members of the public (i.e. non-members) to attend any of their screenings (for a charge on the door).

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The average admission fee on the door was £5.00 for non-members, which is lower than the average commercial cinema admission charge of £6.72 (BFI Statistical Yearbook 2015). The lowest charge on the door was £3.50 and the highest was £10.00.

3.3 Admissions

This section looks at the size of audiences at screenings and total admissions.

3.3.1 Audience sizes in 2014/15

Respondents were asked to provide an average number of admissions per screening during the 2014/15 season. The average audience size of responding community exhibitors was 64 (compared to 75 last year), with 44% of respondents recording an increase in audiences and 31% recording roughly the same number as in the previous year.

Table 3.3 shows that just over half (52%) of respondents had an average of 60 or fewer audience members per screening while almost 10% drew average audiences of more than 120.

Table 3.3: Average audience sizes Average audience size # % 30 or fewer 13 11 31 to 60 47 41 61 to 90 36 31 91 to 120 8 7 121+ 10 9 Total 100

The largest audience achieved by a respondent stood at 420.

3.3.2 Total admissions in 2014/15

In 2014/15 the smallest recorded annual admissions total stood at 8 while the largest figure was 9343. 44% of respondents recording an increase in audiences and 31% recording roughly the same number as in the previous year.

Responding community exhibitors recorded around 127,41310 admissions in 2014/15. Theatrical ticket sales on this scale would have generated box office revenues of almost £900k11.

Table 3.4 gives the pattern of total admissions by nation and region based on responding organisations. It shows that the South East accounted for 31% of the total annual admissions, while the South West had 17% and the North West had 14% of the total.

Table 3.4: Total annual admissions by nation and region Nation/region Admissions % South East 35084 31 South West 19629 17

10 Based on 81 responses to both the location and admissions questions. 11 £856215 – based on an average commercial ticket price of £6.72 Page 12 of 29

North West 15427 14 West Midlands 11837 10 Scotland 9828 9 Yorkshire 6551 6 East Midlands 5620 5 London 3456 3 Channel Islands 1804 >2 East of England 1443 >2 North East 1024 >1 Wales 989 >1 Northern Ireland 875 >1 Total 113567 100

3.3.3 Audience information Just as we asked respondents about the types of information they gather about members, we also wished to know what, if any, data they have ever collected on audiences. The results are given in Table 3.5, and show that while the majority had collected reactions scores to films, 26% gathered gender details, and 18% collected audience ages. Once again, unfortunately data about a person’s ethnic background was least likely to have been collected by respondent.

Table 3.5: Audience information Yes % No% Age or age range 18 82 Gender 26 74 Disability 14 86 Ethnicity 7 93

Around a third of respondents (35%) stored information electronically, while 7% only kept hard copy records and 39% used both methods.

3.4 Provision

This section looks at the way community exhibitors deliver screenings: the format(s) they project/screen, their location and how often they screen films.

3.4.1 Screening format and equipment

Organisations were asked to indicate which formats they use to screen films - see Table 3.6.

The most commonly used format was DVD (used ‘usually’ or ‘sometimes’ by 96% of responding organisations). While half (49%) of respondents never used Blu-ray in 2010/11, this fell to 25% in 2013/14 and further still in 14/15: 14% never use this format. Blu-ray was ‘usually’ screened by 51% of respondents, up from 40% in the previous year, while 35% ‘sometimes’ screened using Blu-ray.

Digital screening formats are becoming increasingly accessible to community cinemas, and their use continues to grow although only 23% screened via digital cinema ‘usually’ or ‘sometimes’ in 2014/15 (down from 26% in 2013/14), but 20% ‘usually’ or ‘sometimes’ used online downloads/streaming which is a significant increase on the previous year.

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Table 3.6: Projection format Format Usually Sometimes Never Total % % % % Blu-ray 51 35 14 100 DVD 51 44 4 100 VHS 0 5 95 100 Digital cinema 15 8 77 100 Online download/streaming 2 18 80 100 35mm 1 11 88 100 16mm 0 8 92 100 Figures may sum more than 100% due to rounding.

3.4.2 Location

On average, respondents were located 6.5 miles from their nearest commercial cinema. While some were based in a commercial venue, the greatest distance from one was 35 miles.

Respondents were asked to classify the area they operate in as urban (town or city), rural or remote rural. Table 3.7 reveals that 62% of community cinema providers operated in urban locations (mainly towns) with 37% in rural areas (7% in remote rural locations more than 10 miles from a large settlement). Film societies and community cinemas play a vital role in bringing film to rural and remote communities, as less than 3% of commercial cinema screens are found in rural areas (BFI Statistical Yearbook 2015).

Table 3.7: Urban/rural location, number of respondents Location type # % Urban - town 51 42 Urban - city 25 20 Rural 37 30 Rural remote 9 7 Total 122 100

3.4.3 Screening frequency

Respondents were asked how frequently they screen films. Over half (55%) of respondents screened films 2-3 times a month or more often, while less than 10% screened less than once a month (Table 3.8).

Table 3.8: How often do you screen films? Frequency # % Once a week or more 14 13 2-3 times a month 46 42 Once a month 39 36 Less than once a month 10 9 Total 109 100

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3.5 Programming

Respondents programmed a total of 817 different titles across 2558 screenings during the 2014/15 season (the full list of titles is given in Appendix 1).

This section looks at what types of films were screened, the most frequently programmed titles and at other types of events hosted by community exhibitors.

3.5.1 Types of film

The survey asked respondents to indicate how many films of a particular type were screened during their 2014/15 season, and the results appear in Table 3.9:

Table 3.9: Programming, 2012/13 and 2014/15 Number of % of all Number of % of all screenings Type of film screenings screenings screenings 2014/15 2013/14 2013/14 2014/15 British 879 25 593 25 Foreign Language 999 29 608 26 Documentary 223 6 158 7 Shorts 525 15 287 12 Archive films 48 1 71 3 Films made before 2000 543 16 407 17 Cinema For All Booking 174 5 142 6 Scheme Alternative content 83 2 110 5 (e.g. theatre, concerts) Note: Percentages do not sum to 100% because films can appear in more than one category (e.g. films made before 2000 and foreign language etc.). Not all respondents submit their full film programmes.

One quarter of films screened in 2014/15 by community exhibitors were British, and 26% were in a foreign language down from 29% in 2013/14.

Alternative content (which includes live events like stage productions, opera and major sports events delivered via satellite, as well as pre-recorded theatre and music concerts delivered on Blu-ray) is increasingly available to community cinemas. In 2014/15 respondents hosted 110 alternative content screenings (up from 83), and this is expected to increase further as exhibitors diversify their programmes to meet the increase in demand for non-film, big screen experiences.

3.5.2 Most frequently programmed films

Seven out of ten (70%) titles were screened by only one respondent, indicating the diversity of programming choices made by individual exhibitors. However, a number of titles proved popular choices: 37 films were programmed by ten or more respondents (listed in Table 3.10).

As expected, films released within the last two to three years dominate the list. 13 of the 37 films programmed by ten or more exhibitors were British (using the BFI’s country of origin definition), and 16 were in a foreign language.

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Table 3.10: Films programmed by ten or more organisations in 2014/15 Rank Title Country of origin Year Programmings 1 India, France, Germany, USA, Lunchbox, the Canada 2013 39 2 Grand Budapest Hotel, the USA, Germany, UK 2014 31 3 Pride UK, France 2014 28 =4 Ida Poland, Denmark, France, UK 2013 21 =4 Nebraska USA 2013 21 6 Saudi Arabia, Germany, USA, UAE, Wadjda Netherlands, Jordan 2012 20 7 Mr Turner UK, France, Germany 2014 19 8 Selfish Giant, the UK 2013 18 =9 Imitation Game, the UK, USA 2014 17 =9 Locke UK, USA 2013 17 =11 Calvary Ireland, UK 2014 16 =11 Of Horses and Men Iceland, Germany, Norway 2013 16 =13 Like Father, Like Son Japan 2013 15 =13 Omar Palestine 2013 15 =13 Rocket, the Australia, Thailand, Laos 2013 15 =16 Great Beauty, the Italy, France 2013 14 =16 Jimmy's Hall UK, Ireland, France 2014 14 18 Boyhood USA 2014 13 =19 20 Feet from Stardom USA 2013 12 =19 Belle UK 2013 12 =19 Past, the France, Italy, Iran 2013 12 =19 Sunshine on Leith UK 2013 12 =19 Theory of Everything, the UK 2014 12 =19 We Are The Best! Sweden, Denmark 2013 12 =19 What We Did On Our Holiday UK 2014 12 =26 Frozen USA 2013 11 =26 Gone Girl USA 2014 11 =26 Invisible Woman, the UK 2013 11 =26 Leviathan Russia 2014 11 =26 Saving Mr Banks UK, Australia, USA 2013 11 =26 Two Days, One Night Belgium, France, Italy 2014 11 =32 100-Year-old Man Who Climbed Out The Window And Disappeared, the Sweden, Russia, UK, France, Spain 2013 10 =32 Gloria Chile, Spain 2013 10 =32 Philomena UK, USA, France 2013 10 =32 Railway Man, the Australia, UK, Switzerland 2013 10 =32 Tracks Australia 2013 10 =32 Wakolda: The German Doctor Argentina, Spain, Norway, France 2013 10

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3.5.3 Special events

Almost two thirds (60%) of all responding exhibitors held special events in addition to screenings in 2014/15 which is up from 54% in the previous year. These included guest appearances by cast members or filmmakers to introduce films, musical or comedy events, dinner and film nights, quizzes, film themed socials, special programmes to coincide with other organised events such as literary festivals, talks, education events such as short courses and outreach events in the wider community.

3.5.4 Programming notes

Over half of respondents (56%) provided programming notes to accompany screenings (down from 69% in 13/14) and 62% measured their audiences’ reactions to films, slightly down on last year (66%).

3.6 Administration

Film societies and community cinemas were asked whether they had charitable status and if they were run as a not-for-profit enterprise. Nearly all respondents are run as not-for-profit (95%) and 29% also have charitable status up from 21% last year. A very small proportion of respondents, 1%, are set up as co-operatives.

3.6.1 Type of organisation

The majority (89%) of respondents described themselves as a community film society or cinema.

Table 3.11: Type of organisation Type # % Community cinema 42 42 Film society 48 48 University or college film society 1 1 Arts Centre 2 2 Pop up screening 2 2 Touring cinema 1 1 Other (independent cinema, festival 5 4 etc.) Total 101 100

3.6.2 Training

We asked community cinema providers whether their volunteers or staff undertook any training or professional development. 20% of respondents did provide training and development opportunities – up from 14% last year, in areas such as health & safety (including first aid), audience development, licensing, hospitality, and box office systems. Volunteers attended events and workshops run by Cinema For All and ICO events.

3.6.3 Biggest challenges

As in previous surveys we asked respondents to describe the biggest challenges currently affecting their organisation. 96 respondents replied to the question, and a summary of responses is given in Table 3.12. Page 17 of 29

As in previous years, the most common challenges facing community cinema providers were linked to the need grow new audiences and attract new members; attract and retain volunteers and committee members, and changes in technology. Once again respondents also cited high venue and film hire costs as challenges.

Table 3.12: Most pressing issues affecting respondents Category Specific issue Membership and  Growing audiences audiences  Attracting new members  Encouraging younger people to attend Committee and  Retaining volunteers volunteers  Attracting new volunteers  Finding time and maintaining the ‘momentum’ Film booking and  Covering licence fee costs programming  Exploring other possibilities such as live events and festivals  Balancing a varied programme with cost

Venue and  Competition from new venues, online platforms: Netflix equipment  Keeping up with technology and replacing equipment  Coping with a small venue capacity Finances  Increasing costs  Identifying funding streams  Remaining economically viable

3.7 The benefits of community exhibition

For a few years we have been asking questions to find out what community exhibitors consider to be the main benefits of their screening activity, and the questions were repeated this year.

Respondents were presented with a list of possible benefits and asked to say whether they were applicable. As Table 3.13 shows, in previous years there was almost universal agreement that offering value for money was the most important key benefit of community exhibition. However broadening the range of films available has now taken number one slot, and making it easier to see films on the big screen retains its number three position.

Table 3.13: Community Exhibition benefits % % Don’t Yes No know Broadening the range of films available locally 98 1 1 Offering value for money 96 0 4 Making it easier to see films on the big screen 95 4 1 Making use of local facilities (e.g. village halls) 88 11 1 Providing volunteering opportunities 84 13 3 Generating income for your venue 82 15 3 Promoting informal education about film 80 10 10 Bringing together different sections of the community 76 10 14 Increasing civic pride in the local area 66 9 24 Encouraging more people to come into the area & use local shops & businesses 34 39 27

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Engaging under 19s in community activities 28 59 14 May not sum 100% due to rounding

The survey also asked respondents to rank benefits on a scale of importance, and the results are presented in Table 3.14. Broadening the range of films available, making it easier to see films on the big screen and offering value for money were the three best ranked benefits.

Table 3.14: Community Exhibition benefits, ranked in order of importance (1= most important, 11= least important)

Average ranking Broadening the range of films available locally 1st Making it easier to see films on the big screen 2nd Offering value for money 3rd Making use of local facilities (e.g. village halls) 4th Bringing together different sections of the community 5th Promoting informal education about film 6th Providing volunteering opportunities 7th Generating income for your venue 8th Increasing civic pride in the local area 9th Engaging under 19s in community activities 10th Encouraging more people to come into the area & use local shops & businesses 11th

3.8 Using Cinema For All services and resources

Since 2007/08 the survey has included a number of ‘customer satisfaction’ questions to gauge how often film societies and community cinemas use Cinema For All services and their levels of satisfaction.

To begin with, respondents were asked how frequently they use particular services and resources. Table 3.15 shows that the e-Newsletter and the Cinema For All web site were the most frequently used of the services and resources listed. 88% of respondents had used the Cinema For All web site at some time, and 26% used it once a month or more. Over half had used the e-Newsletter once a month going up to 75% using it every two to three months or more.

Table 3.15: How frequently do you make use of the following Cinema For All resources and services?

more 3 to 2 every Once % months 6 every Once % months or year a Once % less Never % Services/resources or month a Once % Cinema For All website 26 41 15 5 12 (base=99) e-Newsletter 55 20 6 3 16 (base=97)

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Cinema For All Booking Scheme 3 25 22 14 36 (base=96) Advice leaflets & briefing notes 2 9 20 28 41 (base=97) Enquiry service 1 14 17 31 36 (base=99) Regional group services 1 2 22 25 50 (base=96) Member/Associate discounts 3 0 14 17 67 (base=96) Cinema For All Programming notes 0 12 5 13 70 (base=94) Base= the number of respondents answering the question. Figures may not sum 100% due to rounding.

3.9 Rating Cinema For All services and resources

Respondents were also asked to rate on a 5-point scale the Cinema For All services and resources they had used in the last year. As in previous years, Figure 3.1 and Table 3.16 reveal a high level of satisfaction with Cinema For All services and resources, a point further illustrated by the comments from respondents provided in Appendix 2.

Every service or resource was rated as good or very good by over 80% of the respondents with the National Conference, Booking Scheme and NewsReel scoring the highest satisfaction ratings (see Table 3.16).

Table 3.16: How do you rate the following Cinema For All resources and services? % % % % % % % V Good Good Okay Poor V Poor Not V Good 1 2 3 4 5 used or Good

Cinema For All website 38 35 13 1 0 14 84 (base=83) Cinema For All Booking Scheme 44 17 6 0 0 33 90 (base=63) National Conference 16 14 2 0 1 67 90 (base=30) Starter pack 19 8 4 0 0 69 86 (base=29) Regional viewing services 29 12 5 0 0 54 87 (base=44) Film Society of the Year event 15 19 4 1 0 60 86 (base=36) e-Newsletter 35 38 14 0 0 14 84 (base=82) Member/Associate discounts 17 11 3 1 0 67 86 (base=30) Enquiry service 24 22 11 0 0 43 81 (base=54)

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Advice leaflets & briefing notes 16 14 7 0 0 63 82 (base=34) Cinema For All Programme notes 15 9 4 0 0 71 85 (base=26) % may not sum 100 due to rounding or % not using that service.

3.10 Rating BFI Film Audience Network and BFI Neighbourhood Cinema experiences

This year we introduced questions to survey opinion on the sector’s experience of the BFI Film Audience Network and Neighbourhood Cinema projects. Respondents were asked to respond to a number of questions.

3.10.1 BFI FAN membership

Of the 37% of people responding to this question, 44% were members of their local Film Hub. 68% knew that Cinema For All was a strategic partner of the BFI FAN and NCF. Table 3.17 shows why respondents had not joined their local Film Hub.

Table 3.17 If no, why have you not joined? Reason # % Unaware of BFI FAN Film Hubs 23 43 Unsure of benefits of joining 24 45 Lack of time 11 21 Ineligible 4 8 Benefits not relevant 8 15 Not in need of additional support 8 15 Other * 14 26 Total 109 100 # No. of respondents

*Other reasons listed were: . The designated FAN centre is a long way from our location. . Not sure if eligible. . We are maxed out in terms of available effort and are wary of having another relationship to manage. . We had forgotten it was a separate organisation. We will now join. . Only just aware of them. Hope to join soon. . We’re on the point of joining.

3.10.2 BFI FAN Film Hub support

We also asked Film Hub members if they had applied for support from their Film Hub. 47% had and of those over 70% had been successful in obtaining additional support. 49% had taken part in Film Hub activities.

The types of support people had received included:

. Financial support for screenings . Took part in the Sci-Fi season . Bursaries for workshops . Received bursary for travel costs to attend training. Page 21 of 29

. Help with finances for two to attend annual conference. We wouldn’t have both gone without it. . Technical ambassador consultation and report. It confirmed what we already knew. . Two grants to support screenings and a bursary to support a viewing session; both very helpful. . The initial programme was supported by the Film Hub. . Funding for Sci-Fi weekend. Helped underwrite riskier programming choices. . We received financial help towards audience development.

We also asked how useful did respondents find their experiences.

. Good from a networking viewpoint. . Screening Days very useful. . Exhibitor breakfast (they’re so useful) also drop in sessions are very helpful for 121 advice. . We attended This Way Up conference and it was useful. It is where we found out about Cinema For All. . Viewed new films for 2015/16 season. . Joint marketing for specialised films but not really useful as it confused our customers because it included screenings all over the country. . Programming meeting. Useful. . Social media workshop v poor. . Attended regional get together. Very useful for learning from others engaged in the same activity. Networking. . Sci-fi season. Experience was good.

3.10.2 BFI Neighbourhood Cinema Fund

We asked a series of questions about the BFI Neighbourhood Cinema Fund. Table 3.18 shows over 80% of respondents had heard of the funding opportunity but only 22% had actually applied.

Table 3.18 % Yes % No % Don’t know Have you heard of BFI Neighbourhood Cinema and its funding streams? 82 15 3 Do you have a profile on the BFI Neighbourhood Cinema website? 57 37 6 Have you applied to the BFI NC Equipment Fund? 22 78 0 If yes, was your application successful? 56 28 16 Have you had any issues with the eligibility requirements of the fund? 20 71 8 Would you like further support with your new equipment? 33 46 21

If groups had not applied this was mainly due to . being fully equipped already . wanting funding for their own choice of equipment . using venue’s equipment . being ineligible through venue, legal structure, or hosting too few screenings . not having time to apply . not being aware of the fund . finding the website difficult to navigate . finding the equipment packages on offer restrictive

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Aristocats, the Blancanieves Armstrong Lie Blazing Saddles Arsenic and Old Lace Blind

Arthur Christmas Blue Angel, the 71 Artist and the Model, the Blue is the Warmest Colour 100 Foot Journey, the Artist, the Blue Jasmine 1000 Times Goodnight Au Hasard Balthazar Blue Ruin 100-Year-old Man Who Au Revoir Les Enfants Blues Brothers Climbed Out The Window and Autumn Afternoon, An Bon Voyage Disappeared, the Autumn Sonata Book Thief, the 12 Years a Slave Avant L'Hiver Boxtrolls 13 Assassins Babadook, the Boy 2 Days 1 Night Babette's Feast Boy Hood 20 Feet from Stardom BAFTA Shorts 2014 Brave 20,000 Days On Earth BAFTA Shorts 2015 Breadline Kids 2001: A Space Odyssey Barbara Broadcast 21 Jump Street Barber of Seville, the Broken Circle Breakdown, the 300: Rise of an Empire Barfly Brooklyn 47 Ronin Barry Lyndon Butler, the 5 Broken Cameras Bastards Cabaret Utopia 52 Pick-Up Battle of Coronel Caesar Must Die Aatsinki: The Story of Arctic Beat Girl Calamity Jane Cowboys Before I Go To Sleep California Suite About Elly Before Midnight Calvary About Time Before The Winter Chill Cameraman, the Absence of Malice Begin Again Camille Claudel Act of Killing, the Behind the Beautiful Forevers Camp 14 – Total Control Zone Aguirre, the Wrath of God Behind the Sun Captain America The Winter Alamar Belle Soldier Alexander and the Terrible, Benvenuto Cellini Captain Philips Horrible, No Good, Very Bad Best Exotic Marigold Hotel, the Carry on Screaming Day Beyond the Edge 3D Casablanca Alice in the Cities Beyond the Hill Castle, the Alien Beyond The Lights Cathedrals of Culture All is Lost BFG, the Cavalleria Rusticana and All Quiet on the Western Front Bicycle Thieves, the Pagliacci All That Jazz Bienvenue Chez les Ch'tis Chakara (Monsoon Tide) Amelie (Welcome to the Sticks) Charlie Wilson's War American Hustle Big City, the Charlie's Country Amour Big Country, the Chef Andre Rieu Big Eyes Chicken Run Angel-A Big Hero 6 Child's Pose Animal Kingdom Billy Elliot Chinatown Animated Tales Birdman Chocolat Annie Hall Black Gold Cinema 1914 Another Earth Black Narcissus Cinema Paradiso Antarctica: A year on Ice Blackbird Circles Apartment, the Blackfish Circus, the Apollo 13 Blade Runner Citizenfour Appropriate Behaviour Blades of Glory City Of God Argo Page 23 of 29

Class Enemy Duchess of Malfi, the Forest Of Bliss, the Classe Tous Risques Duke of Burgundy, the Forgotten Kingdom, the Clay Bird, the Earth to Echo Four Weddings and a Funeral Cleopatra East is East Fourth Estate, the Cloudburst Easy Money Francaise Cold In July Edge of the World, the Frances Ha Come as You Are Edge of Tomorrow Frank Come Back Africa Effie Gray Frankenstein Concerning Violence El Bano Del Papa Freaks Concert, the Electricity From Here to Eternity Conversations with my Elena Fronts & Frontiers (Short films Gardener Elle L'adore by artists in partnership with Cool Runnings Emerald Forest, the the ICO) Cosi Fan Tutti Encores of Frankenstein Frozen - sing along - 7 Count of Monte Cristo, the Enemy Fruitvale Counterfeiters, the Enemy Within Fury Crash Reel, the Enter The Dragon Future My Love Crowhurst Village Epic of Everest, the Futureshorts - 6 short films Cuban Fury Ernest and Celestine Galapagos Affair, the Curious Incident Of The Dog In Eugene Onegin Galaxy Quest The Night Time, the Ex Machina Gazon Maudit Cutie and the Boxer Excuse My Friend General, the Cycling With Moliere Exhibition Geordie Dallas Buyer's Club Expendables 3 Get On Up Dan Y Wenallt Extraordinary Adventures of Giant Peach, the Dans la Maison Adele Blanc-Sec, the Girl at my Door, A Dark Days Faith, Hope and Charity Girl with A Pearl Earing Dark Horse, the Faithless Glass Key, the David Copperfield (Extracts) Falling Down Gleaners and I, the Dawn of the Planet of the Apes Fanny Gloria Dear White People Fantastic Four Go Method Death Watch Fantomas God Help the Girl Deep End Farewell to Arms, A Godzilla Der Letzte Mann / Last Laugh, Fargo Gold Rush, the the Fault In Our Stars, the Golden Dream, the Diamonds of the Night Felix Gone Girl Difret Ferris Bueller's Day Off Good Vibrations DigiCult Shorts Tour Festen Goodbye First Love Divergent Field in England, A Goodbye Lenin Dolphin Tale 2 Fill the Void Goodbye to Language 3D Donald Crowhurst Project, the Finding Vivian Maier Goodnight Double Indemnity First Grader, the Grace of Monaco Double, the Fish Tank Gran Torino Down by Law Fish 'n' Reels Grand Budapest Hotel, the Dr. Who Fisher King, the Grandmaster, the Draughtsman’s Daughter, the Fishnet Orkney Grapes of Wrath Dream Me Up Flash Gordon Gravity Drifting Clouds (Kauas pilvet Flying Scotsman, the Grease karkaavat) Folklore's Intimates Great Beauty, the Drop, the Force Majeure Green Fingers

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Grow Your Own Images of Bracknell, Killing of Sister George, the Guardians of the Galaxy Wokingham and Reading, 1910- King and the Mockingbird, the Half Nelson 1914 King is Alive, the Half of a Yellow Sun Imitation Game, the King Lear Hamlet Importance of Being Earnest, Kings of Summer Hard Day's Night, A the Kingsman Hard Problem, the In a Better World Kino Cafe shorts films night Headhunters In a World… Knocked for Six Hear My Song In Bloom Kon Tiki Hector and The Search for In Bruges L’Atlante Happiness In Order Of Disappearance La Boheme Heli In Secret La Grande Vadrouille Henry IV Part I In the Fog La Regle du Jeu Henry IV Part II In The House La Traviata Her In the Mood for Love Lad: A Yorkshire Story Here and Now Infinite Man, the Lady Eve, the Herostratus Innocents, the Ladykillers Hijacking, A Inside Llewyn Davis Last Goal Wins Hobbit Battle Of the Five Interstellar Last Great Climb, the Armies (2D & 3D), the Interview, the Late Quartet, A Hobbit: The Desolation of Into the Woods Laughter in Paradise Smaug, the Invasion of the Body Snatchers Lawrence of Arabia Holy Motor Invisible Woman, the Le Boucher Home Invisible, the Le Gamin au Velo Homesman, the Iris Le Jour se Leve Horizon is Far Away, the Island People Le Nozze di Figaro Horse's Mouth, the Italian for Beginners Le Passe How I Live Now Italian Job, the Le Week-End How to Train Your Dragon It's a Wonderful Life Leave to Remain How To Train Your Dragon 2 It's Such a Beautiful Day Lego Movie, the How We Used to Live I've Loved You So Long Leon Hugo Janapar Les Emotifs Anonymous Human Capital Jar City Les Miserables Hundred Foot Journey, the Jean de Florette Les Salauds Hunger Games Mockingjay Pt1, Jersey boys Leviathan the Jeune & Jolie Life Is a Long Quiet River Hunger Games, the: Catching Jimi: All Is By My Side (French: La vie est un long Fire Jimmy's Hall fleuve tranquille) Hunt, the Joe Life of Pi Hustler, the Journey to Italy Life Of Riley I Am Cuba Joycean Society, the Lift to The Scaffold / Gallows I Am Divine Joyeux Noel Light Night: One Minute Vol 8 I am Nasrine Julius Caesar Lights, Camera… Alhambra I Origins Jungle Book, the Like Father, Like Son I Wish Juno Lilting Ida Kajaki Lincoln Idiots, the Kauwboy Lion in Winter, the Ilo Ilo Keeper of Lost Causes, the Lion King, the Kick Ass Little Miss Sunshine Killers Little World of Don Camillo, the

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Living Dead, the Michael Kohlaas No Local Hero Miracle in Milan Noah Locke Miracle on 34th Street Non-Stop Lodger, the Mirror (Zerkalo) Northern Soul London Miss Violence Nostalgia London 1942 Model, the Nothing But a Man Long Day Closes, the Modern Babylon, the Now you see me Long Good Friday, the Modern Times O Brother, Where Art Thou? Long Goodbye, the Mon Oncle Oasis Look 15: Baby Faced Monsieur Lazhar Obvious Child Lore Monster House Oculus Lost Weekend, the Monsters Inc Of Horses and Men Love in the Afternoon Monsters University Offside Love Is All You Need Monty Python's Life of Brian Oh What a Lovely War Love Punch, the Monuments Men, the Old Hitchin On Film Love Will Change The Earth Moo Man, the Omar Love's Labours Lost, Love's Mood Indigo On the Town - Christmas Labours Won Moon Special Lucy Moon Man On the Waterfront Lunchbox, the Moonrise Kingdom Once Upon a Time in America: Machan Morning Paper Extended Director's Cut Madam Butterfly Most Wanted Man, A One Chance Maggie, the Mr Peabody & Sherman One Crazy Ride Magic in the Moonlight Mr Turner One Day Magic Mike Mrs Brown’s Boys: D’Movie One Direction: Where We Are Magic Mike XXL Much Ado About Nothing One Flew Over the Cuckoo’s Magnificant Haunting, A Mud Nest Maleficent Muppets Christmas Carol One from the Heart Mamma Mia Muppets Most Wanted One Night Man And Superman Muscle Shoals Only Lovers Left Alive Man in White Suit, the Museum Hours Oranges and Sunshine Man on the Beat, the My Fair Lady Osage County Manakamana My Old Lady Oslo Mandela - Long Walk to My Week with Marilyn Othello Freedom Naked Island Other Woman, the Mansfield Park National Gallery Our Ordered Lives Manuscripts Don't Burn Navigator, the Out in the Dark Mapping & Memory Navigators, the Overnighters, the Maps To The Stars Nebraska Paddington Marius Network Papadopoulos And Sons Mary Poppins New York Winter’s Tale, A Paper Moon Maze Runner, the Next Goal Wins Paris is Burning McCullin Niagara Paris, Manhattan Me, Myself and Mum Nicholas and Alexandra Parklands Mean Girls Night at The Cinema in 1914. A Passion of Joan of Arc, the Medea Night at the Museum: Secret Of Past, the Medium Cool The Tomb Paths of Glory Meet Me in St Louis Night at the Opera, A Patience Stone, the Metro Manila Night of the Hunter, the Patrol, the MI: Ghost protocol Nightcrawler Pee Wee's Big Adventure

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Penguins Of Madagascar (2D & Riot Club, the Sherlock Holmes 3D) Rise of the Guardians Shongram Peoples Land, the Road Short Term 12 Pepe le Moko Rocket, the Shun Li and the Poet Persuasion Rocks In My Pockets Shy People Peter Grimes Roman Holiday Side Effects Phantom Carriage, the Roman Scandals Sideways Philadelphia Story, the Romance of the Far Fur Silence Philomena Country Silver Linings Playbook Phone Call, the Rome, Open City Singer, the Picnic at Hanging Rock Room With a View, A Sita Sings The Blues Pigeon Sat On A Branch Rosewater Skin Reflecting On Existence, A Round Midnight Skin I Live In, the Pirates! In an Adventure With Royal Affair, A Skyfall Scientists!, the Runaway Train Skylight Plan 9 from Outer Space Runway Sleuth Plein Soleil Rush Slumdog Millionaire Plot for Peace Salt of the Earth, the Small Family Business, A Pluto Samba Somers Town Poet, the Sapphires, the Son of Rambow Point Blank Saving Grace Song For Marion Polyester Saving Mr Banks Sound of Music Sing Along Pompeii Scent of Green Papaya Sound of Noise Populaire Scottie Sower, the Possibilities Are Endless, the Searchers, the Soylent Green Pride Searching For Sugar Man Sparrows Prince Avalanche Searching for the Wrong Eyed Spellbound Professional, the Jesus Spiderman 2 Promise, A Second Best Exotic Marigold Spirit of '45 Promised Land Hotel, the Spirit of the Green Papaya, the Pulp: A Film About Life Death Second Hand Lions Spring in a Small Town And Supermarkets Second Mother Spring, Summer, Fall, Winter... Quartet Secret Life of Arrietty and Spring Queen Christina Secret Life of Walter Mitty Square, the Quo Vadis Secret Sharer St Vincent Radiator Seducing Dr Lewis Station Radio On Selfish Giant, the Station Agent, the Railway Man, the Selma Stations Of The Cross Raven on the Jetty, the Senna Still Alice Rear Window Servant, the Still Life Red Desert Sessions, the Still The Enemy Within Reel Heroes Set Fire To The Stars Stories We Tell Reluctant Fundamentalist, the Seven Days in May Story of Children and Film, A Rembrandt Seven Samurai Straight Story, the Requiem For A Village Seventh Bullet, the Stranger By The Lake Retrieval, the Seventh Seal, the Strawberry Fields Rewrite, the Sex Tape Stray Dogs Rigoletto Shakespeare in Love Street Smart Ring Of Bright Water Shaun The Sheep Streetcar Named Desire, A Rio 2 Shell Suffragettes

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Summer in February Turbo Wolf of Wall Street, the Sunday in Peking Two Days, One Night Wrath of God Sunshine on Leith Two Faces of January, the Wrinkles Superman IV Two Gentlemen Of Verona, the X and Y Suzanne Unbroken X-Men (2D & 3D) Svengal Under the Skin X-Men: Days of Future Past Tabu Underground Yasmin Tammy Unforgiven You Will Be My Son Tangerines United 93 Young and Prodigious T.S. Tangled Untouchable Spivet, the Tea with Mussolini Up Your Beauty is Worth Nothing Television Vancouver Asahi, the Yves Saint Laurent Tell Them Who You Are Venus Peter Testament Of Youth Very Long Engagement, A Tetsuo: The Iron Man Victory in Europe Theory of Everything, the View From The Bridge, A They Call it Myanmar Village at the End of the World Third Man, the Vincent Van Gogh Third Person Singular Number Vivan Las Antipodas This is not a Film Volchok Those Magnificent Men in Their Wadjda Flying Machines Wake In Fright Thousand Times Good Night, A Waking Ned Three Colours Red Wakolda: The German Doctor Three Hours Walk the Line Timbuktu Walkabout Time Of The Gypsies Wall, the Time of the Wolf War Horse Times and Winds Warrior, the Tim's Vermeer Waste Land Tiny Furniture Watermelon Woman Titus Way to the Stars, the To Kill a Mocking Bird Ways to Die in the West, A To Live We Are Salt To Say Goodbye We Are The Best! Tokyo Sonata West Side Story Tom at the Farm What If Tommy What Maisie Knew Tony Benn: Will & Testament What We Did On Our Holiday Tosca What We Do In The Shadows Touch of Sin, A When Harry Met Sally Tracks Whiplash Transcendence White Shadow Transformers White Silence Transformers 4 Wild Treasure Island Wild Tales Tribe, the Willow And Wind Trip to the Moon, A Wind Rises, the True Grit Wind, the Tu seras mon fils Winter Sleep

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Comments reproduced here are verbatim, in response to the question: ‘What do you value most about Cinema For All and how can we make our service better?’

General comments

. We really enjoy the local viewing day to stimulate interest in new films and having a chance to meet people from other film societies. . Voice for the sector. . Enquiry service and booking scheme are excellent. . We would like more of your selections at the ICO viewings. . Help with finding licences and the booking scheme. The FSOY awards are fun! . You run an excellent service. . Information. Helpful and prompt responses. Easy way to book films. . We use it very little and each year treasurer and committee debate whether to continue. . Helpful and responsive. Securing more and more good titles. . More roadshow events in the southern half of the country, especially in the E/SE regions. . Named contacts who respond in a friendly way. Would like to see cheaper membership and better value insurance. . Interaction with other film societies. . Information and vital services. Can’t think of any necessary improvements. . Its role helping new clubs get started and keeping community cinema in the public eye. . The South West BFFS chair was very helpful to us in getting ourselves set up. . I think you do an amazing job! . Excellent, friendly service, fast and efficient. And a jolly good catalogue. . Offer cheaper film licences to help film societies keep costs down. . Connection and support – being part of something bigger, being represented. We will start our 4th year in September and found it invaluable to start with but we have learnt so much we now use it less but we are very glad you are there!

Booking Scheme

. I think the new Booking Scheme web content is very good. . More titles. . How about information on the programming challenges that film societies really face. . Early window bookings. . Include a glossary of terms. . Happy as it is. . We don’t show new titles so it does not really apply. . A full list of new titles. . A really comprehensive film search facility would be helpful. . Community cinema ratings of film. . More distributors on the booking scheme. . You’re doing a great job.

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