BBFC Annual Report 2017

Age Ratings You Trust

BRITISH BOARD OF FILM CLASSIFICATION ANNUAL REPORT AND ACCOUNTS 2017 British Board of Film Classification Annual Report and Accounts 2017

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bbfc-cover.indd All Pages 21/03/2018 12:55 British Board of Film Classification Annual Report and Accounts

1 January 2017 – 31 December 2017

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

President’s introduction 4 Chief Executive’s report 6 Accountability 8 BBFCinsight and resources 9 Feedback from the public 10 Media education 12 Research 13 Non-statutory work: bringing trusted 14 BBFC classifications online Enforcement 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 works 42 Legal issues 43 Statistics 44 Video Appeals Committee 48 Consultative Council 48 Advisory Panel on Children’s Viewing 50 Business review 51 Strategic report 52 Report of the Directors 53 Accounts 56 Photographic credits 72 President’s introduction

Patrick Swaffer - President

2017 was a remarkable year. How and good practice both in the UK chaired one of the key panels at the the public watches film and video and beyond. As a member of the 2017 Digital Families Conference in content has continued to evolve, Executive Board of the UK Council October, hosted by The Parent Zone with an acceleration in convergence for Child Internet Safety (UKCCIS), and Child Exploitation and Online around our offline and online lives. the BBFC contributed to the Protection Command (CEOP). This change particularly impacts Government’s Internet Safety Strategy children. It means that families Green Paper and participated in the The BBFC will continue to share more than ever need the right tools European Commission’s Alliance to its good practice and collaborate to ensure that what they view is Better Protect Minors Online. internationally with organisations age appropriate. Coupled with the whose primary aims are to protect UK Government’s designation of In October, we took part in the Child children and empower consumers the BBFC as the Age-Verification Dignity in the Digital World Congress through classification decisions, Regulator under the Digital in Rome. This major international content information and education Economy Act 2017, it means that gathering brought together academic outreach. in my introduction this year, I will experts, technology industry focus on the increasingly important leaders, leaders of civil society and Consistent application of BBFC contribution the BBFC is making to religious faiths, and government classification standards online child online protection and helping representatives (including the British In partnership with online platforms, families choose online film and video Government) to discuss, agree and in 2017 the BBFC continued to look at content well. take forward measures to protect how we can ensure more consistent child dignity in the digital world. use of our classifications and advice Child online protection for the benefit of British families. We The BBFC remains at the heart Once again we supported Safer will take this work forward into 2018. of child online protection policy Internet Day on 7 February and We believe that the BBFC system of

4 President’s introduction classification meets the key criteria Age verification and child Hails and farewells for a regulatory system to improve protection I should like to welcome Lesley child safety online. This includes The Government’s Internet Strategy Mackenzie and Merion Alcock as having: Green Paper points out, ‘Today’s is new members of the Council of the first generation of children who Management. • child protection at the core are learning about relationships • effective labelling of content and sex in an online world’. It also Maggie Carver, our current so that standards are trusted acknowledges that problems chairperson of the Council of and understood and reflect the ‘...like pornography and bullying Management and I, want to express sensitivities and expectations of have challenged previous our deep gratitude, thanks and the British public, and that the generations. But the Internet has farewell to Graham Lee, former symbols used are recognisable amplified the risks’. The BBFC agrees chairperson for twelve years of • broad coverage with this analysis and supports the dedication and hard work, and • a low cost, efficient, flexible and conclusions of the UKCCIS Evidence to Steve Jaggs, both of whom innovative service that can keep Group literature review published stepped down from the Council of pace with technological change alongside the Green Paper including Management in April 2017. Graham and not be burdensome to that ‘Pornography is the top content- and Steve oversaw significant industry related concern for children.’ changes at the BBFC, including in particular the growth of our The BBFC is supporting the goals The regulation, by the BBFC, online regulatory partnerships that of the Government’s Internet Safety of pornography offline is well- provide families with trusted advice, Strategy by promoting initiatives established and largely effective. whenever, however and wherever that help to bring offline protections However, online the situation is quite they watch content. online, in accordance with public different. The BBFC has therefore expectations. These initiatives accepted the Government’s include our work as the independent designation as the Age-Verification regulator, on a voluntary, best- Regulator under the Digital practice basis, of content delivered Economy Act. This new regulatory via the UK’s four mobile networks regime imposes requirements on (EE, O2, Three and Vodafone), commercial pornographic services ensuring that content which would to impose age-verification controls be classified 18 or R18 by the BBFC to help to prevent children accessing is placed behind adult filters on all and stumbling across pornographic non-age-verified devices. content online. It is therefore a key component of the BBFC’s mission to In addition, in recognition of the protect children and preparation for fact that user-generated content its implementation will be a key part (UGC) is an increasingly significant of our work in 2018. source of content online, the BBFC Alison Hastings - Vice President and the Dutch regulator, NICAM, Education outreach have developed You Rate It (YouRI). The BBFC does not focus solely on This tool enables crowd-sourced, children. As part of our commitment bespoke national age classifications to working with vulnerable adults, the and content advice for UGC and BBFC’s Education Team worked this includes a ‘report abuse’ function. year with librarians working in three A successful pilot project with the of Her Majesty’s Prisons to help run Italian media company Mediaset has film clubs with inmates, as well as been completed. The BBFC believes at a community public library near YouRI should be tested further in the prisons. Following the positive the UK and beyond with industry response from prisoners, staff and partners, and plans to seek support governors, we will continue to look for a pilot. for new opportunities to work with these and other vulnerable adults.

Gerard Lemos - Vice President

5 Chief Executive’s report

David Austin - Chief Executive

I am delighted to present the 2017 of information for parents and an behind any amendments based on BBFC Annual Report and Accounts. efficient and respected regulator for the consultation. industry. Central to the BBFC’s core mission IT infrastructure for fast, is ensuring we remain the trusted In late 2017, we began our fifth efficient service guide across multiple platforms to Classification Guidelines consultation. Following last year’s commitment to help families and children throughout This consultation is conducted invest in our IT infrastructure, 2017 the UK choose well. In the last year, every four to five years, with more saw us launch an ambitious two-year we have progressed this mission with than 10,000 members of the UK project to overhaul the technology we a range of initiatives and we plan to public taking part. It pays particular use. With the project being funded build on this success over 2018. attention to changes in public taste, entirely from reserves that we had attitudes, concerns and changes in built up for this purpose over the last Helping the UK public to choose the law. It is intended to complement two to three years, we aim to deliver well our accumulated experience over a step change in how we operate by The BBFC remains dedicated many years. The Classification providing leading-edge, cloud-based to serving the public, using Guidelines, our standards and systems and processes that will classification to protect children policies also take into account new transform our operation and support and vulnerable adults and provide evidence from other research and future business needs. Delivering a consumers with all the information expert sources. This consultation 30% reduction in turnaround time they need to make informed viewing is our public mandate for all the is a key project objective and we choices. We have been classifying classification decisions we make are already working collaboratively film in the UK for over 100 years, and is vitally important to ensure with industry partners to achieve it. video for over 30 years and online that we accurately reflect the British We plan to launch the new system content for 10 years. The BBFC’s public’s views on age-appropriate in the second half of 2019 and look success is based on reflecting the content. We will publish the revised forward to delivering even better views of people right across the Classification Guidelines in early cost-effective services to our broad country, being a valued source 2019, setting out the reasoning customer base.

6 Chief Executive’s report

Age-verification regulation to many of the UK’s leading child across 600 venues throughout the UK. protect children online protection charities including The BBFC’s involvement in the festival 2017 saw the passing into law of Barnardo’s, Childnet, Children’s is very much about helping the The Digital Economy Act (DEA). Charities Coalition on Internet next generation realise the benefits Under this innovative law that is Safety, Internet Matters, the NSPCC, of making positive and informed attracting international attention The Parent Zone and the PSHE choices. from several countries looking to Association. It will help inform the protect children from inappropriate BBFC’s evidence-based approach For the seventh year in succession, pornographic content, all providers and will assist with monitoring the the BBFC has proudly sponsored of online commercial pornographic impact of the legislation on child the Childnet Film Competition. material accessible in the UK will be protection. Open to all UK schools and youth required to carry age-verification organisations, this annual competition arrangements for UK consumers Public engagement and invites young people aged 7-18 to to ensure that their content is not education outreach take on the challenge of creating a normally accessible to children. In 2017, we began a major review short film about internet safety. I took Those providers will also not be of the way we communicate with part in the judging panel which was able to carry extreme pornography, the public. As part of this review, looking for films that were the most as defined in the Criminal Justice we conducted research into the creative, inspiring and contained a and Immigration Act 2008, on its way children and families consume clear message. The three selected UK services. This legislation is an media. Against the backdrop of a finalists from both the primary and important step in making the internet significant shift in the public’s viewing secondary age categories were a safer place for children and is a habits, with the continued growth invited to a screening at London’s cornerstone of the Government’s in digital online services within the BFI where I and others presented Internet Safety Strategy. home, parents and children need us the winning teams with prizes for more than ever. The desire among their school or youth organisation to The Government declared its families for consistency between reward their creative achievements. intention to designate the BBFC as the offline and online classifications Age-Verification Regulator under the and content advice remains strong. It only remains for me to thank DEA because of our acknowledged However, trusted BBFC advice that the Board of Classification and the expertise in assessing and classifying helps families choose well is not Council of Management for their content, including pornographic always easy to find. We must work advice and support. I would also like content, and our longstanding harder, including in partnership with to thank the Consultative Council and experience of online regulation to industry, to give British families the Advisory Panel on Children’s Viewing protect children from potentially guidance they need and deserve. for their expertise and invaluable harmful content. When the law comes counsel. And last but by no means into force, adults will be required to Educators tell us the same thing. least, I would like to thank the BBFC demonstrate that they are 18 or over Through our BBFC Education management and staff for their hard before accessing online pornography. resources and outreach programme, work and tireless commitment to the As the regulator, the BBFC will take we work with education professionals BBFC’s mission to protect children a proportionate approach to its new throughout the UK to help children and vulnerable adults and to help regulatory role and will focus on the and young people choose content families choose well. sites that are most frequently visited that is right for them and avoid in the UK. content that is not. For example, in partnership with the BBFC, the PSHE Over 2017, in preparation for Association created – and will deploy our proposed new role (formal in 2018 – two quality-assured, PSHE designation itself took place in Association-accredited lesson plans, February 2018), we actively engaged with guidance for teachers on BBFC with the adult industry to ensure adult classifications. Available online or as content providers understand the new a download, this resource will assist law and how they may comply with teachers and children to explore the the age-verification requirements. We social aspects of classifications, as also engaged with age-verification well as how to make good viewing providers, Internet Service Providers, choices. Mobile Network Operators, Payment Service Providers and Ancillary In 2017, our educational outreach Service Providers to make them team held a range of seminars as aware of the implications of the new part of the Into Film Festival. This regulatory regime. A BBFC UK-wide celebration of film and Age-Verification Charities Working education attracted more than Group held its inaugural meeting 500,000 children and their educators, in 2017. This group brings together with 3000 screenings and events

7 Accountability

The BBFC is accountable to both the public and Parliament. It takes this accountability seriously. This Annual Report is a key part of its fulfilment of this requirement. The Report provides a review of the activities and classification decisions of the BBFC during 2017 as well as information about our financial position as required by law. Our Annual Reports are available on our website and placed in the libraries of both Houses of Parliament.

The BBFC makes providing the public, especially parents, with detailed and accessible information about the works it classifies an essential element of its function and accountability. This service is called BBFCinsight. BBFCinsight is published on our websites and our free mobile and tablet app. BBFCinsight empowers parents, families and individuals to make informed choices about what they watch both at home and in the cinema.

8 BBFCinsight and resources

Helping viewers make informed The BBFC took part in Safer Internet for children. Rate-A-Trailer aims decisions Day in 2017 by promoting resources to help children understand BBFC The BBFC helps viewers, in particular for understanding and finding out classifications and Classification parents, make informed decisions about classifications for online Guidelines, while child-friendly about what they and their family video content via the BBFC’s new BBFCinsight on CBBFC lets children watch at the cinema, on DVD/Blu- tablet app, BBFCinsight information find out about classification issues ray or on Video on Demand (VoD) and new Rate-A-Trailer resources in a film and choose content that is platforms or services. The BBFC available on the CBBFC website suitable for them. website provides information about all cinema films, DVD/Blu-ray and VoD films and series classified by the BBFC. Parents wishing to look at BBFCinsight with their younger children can find child-friendly BBFCinsight for films classified at U, PG and 12A on the BBFC’s website for children (cbbfc.co.uk).

All BBFC film classifications come with BBFCinsight, a summary sentence and, since Autumn 2007, a longer explanation about why a film received a particular classification, plus further details about a film that parents have told us they like to be aware of, such as examples of mild bad language or themes which may upset some children, including divorce and bereavement. Short BBFCinsight is printed on DVD and Blu-ray packaging and on the theatrical BBFC black card shown before a film at the cinema. More detailed BBFCinsight for films is available on the BBFC website and the BBFC iPhone, Android and tablet apps.

In addition to classifying content for cinema and home entertainment, the BBFC is also responsible for the Classification Framework used by Mobile Network Operators to define content that is unsuitable for customers under the age of 18. The Classification Framework has been developed using the BBFC’s Classification Guidelines and is used to calibrate the filters used by the Mobile Network Operators to restrict access to internet content via mobile networks by those under 18 to the maximum extent technically possible. The BBFC publishes quarterly reports on any sites reported as over- blocked or under-blocked by Mobile Network Operators.

9 Feedback from the public

This version of the film is also classified 12A. In 2017 ten people complained to the BBFC that the film misrepresented a revered figure in India. The BBFC fulfils its role by providing age classifications and publishing advice (BBFCinsight) for individual films and videos. We do this without infringing the right of adults to choose what they view provided that it remains within UK law and is not potentially harmful. We seek to ensure that films and videos reach the widest audience that is appropriate for their theme and treatment. There is nothing in Padmaavat that is unacceptable at the 12A category.

Atomic Blonde attracted eight complaints highlighting the film’s violence and to a lesser extent its sexual content and language. There are frequent scenes of strong violence in the film, including people being shot, resulting in large spurts of blood into the air or onto walls, and gruelling fist fights. However, the violence is presented in a stylised 1 manner, without dwelling on the infliction of pain or violence in a manner that would demand an 18 The BBFC generally receives a the infliction of pain or injury. While classification. relatively small number of complaints the violence in Logan is strong and about its classification decisions, and frequently bloody, it is also rapidly Sexual activity may also be portrayed this was particularly true in 2017, edited with a focus on action rather at 15, but usually without strong with only 262 complaints received than sadism. The film’s fantastical detail. The level of detail depicted in compared to 371 the previous setting and super-powered central the Atomic Blonde sex scene means year. Public feedback is important character further distances the that the scene, in isolation, sits at the to the BBFC and it responds to violence from reality, allowing the lower end of the 15 classification. every email and letter, providing issue to be acceptable at 15. the rationale for its decision and Regarding language, the Guidelines addressing any specific points Padmaavat is a Hindi-language state that very strong language may raised by the correspondent. It drama in which a Sultan leads an be permitted at 15 depending on provides an immediate response invasion to capture a Rajput queen. It the manner in which it is used, who to BBFC decisions and helps shape was submitted under an alternative is using the language, its frequency the research and large-scale public title in November 2017 and classified within the work as a whole, and any consultations carried out at each 12A. Following media and public special contextual justification. Very review of the BBFC Classification feedback to the distributor of the strong language (‘c**t’) is used Guidelines. film, a new version was submitted just once in Atomic Blonde, and is for classification in January 2018. therefore acceptable at 15. Logan generated the largest amount 1 Padmaavat of public feedback in 2017, with (12A) twenty complaints received. This is a relatively small number compared 2 Atomic Blonde to films in previous years, some of (15) which have attracted between forty and fifty complaints. Members of 3 Kingsman: The the public who wrote in felt that the Golden Circle (15) film’s violence was too strong for a 15 classification and would have 4 Kong: Skull been more appropriately placed at Island (12A) 18. However, the BBFC Classification 2 Guidelines permit strong violence at 15 provided it does not dwell on

10 Feedback from the public

in particular, as well as other factors such as the setting (historical, fantasy, realistic, contemporary) and tone. The violence in Alien: Covenant is acceptable at 15 in terms of detail and occurs in the context of a well- known science fiction franchise with which its audience is likely to be familiar.

Ghost in the Shell generated five complaints from viewers who considered the violence too strong for a 12A classification. Although 3 there are frequent violent scenes, there is no focus on injury detail and the film’s action sequences sit Kingsman: The Golden Circle also strong for a 12A classification, with within a clear science fiction context. attracted eight complaints in 2017, some also voicing concerns about Accordingly, they are not strong most focused on the film’s sexual the violence. Infrequent strong enough to warrant a 15 classification. content. However, given the comic language is permitted at 12A and context of the scenes in question occurs only once during Kong: Skull The BBFC also received five and the lack of strong detail this Island, with a second instance being complaints about It from members of content is acceptable at 15. The interrupted before the word can be the public concerned that the film’s Guidelines state that there may completed. The film’s violence is horror elements were too strong for also be strong verbal references similarly acceptable at 12A given its 15. The Classification Guidelines to sexual behaviour at 15, but the fantastical nature, involving a giant allow for strong threat and horror strongest references are unlikely to ape and large prehistoric creatures. at 15, though a sustained focus on be acceptable unless justified by sadistic or sexual threat is unlikely to context. Five members of the public be acceptable. In the film there are complained about the violence in several frightening scenes in which One complainant took issue with a Alien: Covenant, feeling that it characters are menaced by various scene of cannibalism in which a man would have been more appropriately monstrous figures, including a killer is required to eat a burger as part of classified 18. Though there are clown. However, there is no sadistic an initiation. Before he does so the moments of strong bloody violence or sexual component to these scenes camera pans to a pair of clothed legs in the film, these do not dwell on and the film’s fantastical elements sticking out from the top of a mincing the infliction of pain or injury in distance it from reality. Furthermore, machine, and then to a pile of minced such a way that would require an the work is based on a popular meat. Considering the lack of detail 18 classification. Context is central novel which had previously been and the scene’s comic tone, this to the question of acceptability adapted for the screen, and therefore content is acceptable at 15. of film and video content. When its content was deemed unlikely considering context, we take into to confound the expectations of its Kong: Skull Island received six account issues such as public audience at 15. complaints. Complainants felt that expectation in general and the the language in the film was too expectations of a work’s audience

11 Media education

Our education team used a media. Several groups combination of approaches to our also asked about our pilot outreach work in 2017. The aim scheme for classifying was to provide relevant support music videos online, our and information for learners and content information, and the public, reaching a wide range our research. We modified of people, and exploring avenues presentation materials for connecting with new audiences, and clips to reflect these whilst providing a feedback loop growing areas. There from the public direct to our staff. was strong interest in our public consultation process Our staff delivered 137 education too, and audiences of all sessions to just over 8,000 people ages were enthusiastic about our five and nineteen years old and their across all four nations of England, commitment to listening to the public, teachers, as well as home-educated Scotland, Wales and Northern Ireland including teenagers, and adapting students. over the year, reaching viewers of our Classification Guidelines to different ages, and a wide range of reflect shifts in public opinion. Engaging with the next generation of geographical locations. filmmakers and working with industry We continued to promote remote remains important. We spoke at These included face-to-face visits, learning events actively, and spoke to a staff briefing for Universal and interviews and lectures and large- groups in Bangor (Northern Ireland), worked with aspiring filmmakers at scale events ensuring feedback from Norwich, Liverpool, Cardiff, Bargoed, the Eastside Film Project in Hackney, young people and their teachers Manchester, Glasgow and Omagh including a workshop with young and parents. We spoke to learners in over Skype in 2017. The sessions women looking at careers in media formal education, from primary and appeal to university and BFI Academy production. We also spoke to Film secondary schools and universities, audiences in particular. Exhibition, Distribution and Sales and other groups including industry Trainees, NFTS students, and several trainees, home-educated pupils, Our in-house seminars remained regional BFI Academies. enthusiasts, filmmakers, media popular, although there was a decline producers, charity staff and other in take-up following changes in the In direct response to requests from regulators. Teenagers, especially Media Studies and Film Studies parents, teachers and students secondary school and university syllabuses, and concerns around we published long BBFCinsight students, made up the majority of our terror threat levels. for several older film titles and audiences in 2017, accounting for two created online resources, including thirds of our reach. We continued to work with industry podcasts, to support the latest exam and education partners including specifications. New case studies With younger audiences in particular, charities, festivals and conferences. included Kingsman: The Secret our focus was on encouraging and This included supporting the Service, requested by teachers at exploring viewing decisions on- and Department of Education Character the BFI Media Conference, where offline. Building on good practice, Awards, giving speeches at the we also championed our suite of we ran sessions with three primary Media Live! Conference in Paris, and classroom and online resources. schools looking at our rubric for the final Communications and Culture classification, and the strategies A Level conference. We also hosted In 2017, we sent out 1,134 free children themselves use to make sessions at the Shetland Screenplay posters for classrooms (897 the best possible choices about Film Festival in Lerwick and with local secondary school posters, 219 what they watch. This will inform schools on the islands, the Cinemagic primary school posters and 18 the presentations and resources we Film Festival in Northern Ireland, and posters about 12A). create for younger audiences in the BFI Summer School in London. 2018. To support Safer Internet Day we Our continuing collaboration with Into updated the interactive element of We delivered 88 sessions at external Film enjoyed another successful year: our children’s website CBBFC to add UK locations in 2017. Given the huge during their 2017 Into Film Festival further Rate-A-Trailer exercises on value placed on our external visits (IFF) we travelled to 18 locations recent titles. CBBFC allows children programme by schools and colleges, in England, Scotland and Wales, to find out about the classification 1 John Wick: these trips continued to make up the introducing 23 film screenings and issues, and directs adults to our main Chapter 2 (15) majority of our face-to-face outreach seminars. Whilst in Scotland for IFF website and free phone app. work. we spoke at a public session for the Edinburgh Film House. We repeated We collated the findings of the There was increased interest from the popular horror workshops first six iterations of our annual all audiences in hearing about launched in 2016, adding in two student survey, in which we ask our non-statutory work, including mornings focusing on classification teenagers about recent cinema our classifications for VoD content, issues in documentaries. Our staff classifications, to feed them into the alongside recent classification spoke to almost 3,000 people, next public consultation on the BBFC decisions for cinema and packaged including learners aged between Classification Guidelines.

12 Research

The BBFC carries out regular The research on families and The insights the research generated research projects to ensure that young children will feed directly fed directly into the publication of our classifications reflect the opinions into the planning stages of the current Guidelines, which came into and expectations of the UK public. public consultation that forms the force on 24 February 2014. bedrock of our BBFC Classification 2017 saw the receipt of our tendered Guidelines. We carry out the BBFC The research process for our next research into how families with young Classification Guidelines research set of BBFC Guidelines began at the children use BBFC classifications in every four to five years in the form end of 2017, with the full consultation making their viewing decisions. This of a large-scale public consultation beginning in the first quarter of research project provided insights exercise. The most recent review of 2018. We will publish the associated into family viewing and rulemaking the Classification Guidelines, carried research and the revised BBFC for the home and cinema, and looked out in 2013, canvassed the views of Classification Guidelines in early at how children consider issues more than 10,000 members of the 2019. around classification. public from across the UK, including, for the first time, groups of teenagers.

13 Non-statutory work: bringing trusted BBFC classifications online

The BBFC remains committed Audience Research Board) research to helping the UK public choose showing that in Q3 of 2017 9.5 well regardless of how and where million UK homes had at least one they consume film, TV and other SVoD subscription. Although sales of media content. We do this through physical media continue to decline, partnerships across the film, TV, the growth in digital subscriptions mobile and media industries to and digital transactions has helped develop innovative, self-regulatory the UK video market grow by 7.5%, solutions. Details of these initiatives the third consecutive year of growth. that ran throughout 2017 are set out The category is now worth £2.69bn. below. 71% of revenue in this market is now from digital. ¹ Working with Video on Demand handling and compliance advice. services 2017 The BBFC continues to support the In 2017 22 services and brands In 2017 Video On Demand services changing ways in which Video On licensed the use of our classifications. continued to innovate and to change Demand services have made content This number of licensed services how consumers in the UK access available to UK consumers. Primarily continues to decline as the larger film and TV content. As a result, this is via two key programmes which players in the digital video space online video subscription services extend the use of our classification attract greater popularity, and others such as Netflix, Amazon and NowTV services and IP into areas not either consolidate or leave the space. continued to grow. covered by The Video Recordings Act 1984. Mobile The three big Subscription VoD During 2017, on a best practice, (SVoD) services have continued Our licensing scheme allows Digital voluntary basis, the BBFC continued their commitment to TV content, Video Services to use existing BBFC to regulate commercial and internet and specifically to making home entertainment classifications on content delivered via the mobile shows available to watch in their their platforms when they make the networks of EE, O2, Three and entirety with either all episodes equivalent digital versions available. Vodafone. The BBFC’s Classification of a new season being released This works in partnership with our Guidelines for film and video simultaneously, or popular older streamlined and low cost digital-only form the basis of the Classification shows being made available in box classification solution that encourages Framework, which defines content set form. the classification of content that is that is unsuitable for customers under distributed via methods outside the age of 18. In addition, the BBFC Each service has taken a different the scope of traditional statutory maintains an additional Classification approach to film content. Amazon classification. Framework specifically for EE acquires prestige movies to premiere network customers who wish to set on their service after a traditional Watch & Rate, our digital-only filter levels to ‘Strict’. This Framework theatrical window for films like classification service, is designed outlines content that is unsuitable Moonlight, The Handmaiden, The to offer the utmost flexibility to for children under the age of 12 Big Sick and Manchester By The the industry, to ensure we can and is based on our Classification Sea. Netflix have had a big push in offer the same recognised and Guidelines for PG. To ensure that film features that live exclusively on trusted classifications in the most the system is accountable and their platform such as Okja, The efficient way possible. Digital-only transparent, the BBFC offers a free Meyerowitz Stories, Bright and classification continued its healthy appeals procedure that is open to all. Mudbound. NowTV (who do not use growth in 2017, with 3,565 works BBFC classifications) continue to gain viewed. This represented just under In 2017, the BBFC adjudicated traction by offering consumers earlier 160,000 minutes of content classified, in relation to twenty one cases access to cinema films from Sky’s a 25.3% increase from 2016. on whether filters had been premium movie channels without appropriately applied to websites. the need for a 12-month contractual Our licensing system allows digital These requests came from website commitment, a dish, or to be tied to videos services to display BBFC owners, members of the public linear broadcast schedules. classifications, symbols and long and and the Mobile Network Operators short insight, as well as giving these (MNOs) themselves. In the interest of 1 Taboo (18) These differing approaches are platforms access to age labelling transparency, the BBFC publishes all bearing fruit with BARB (Broadcasters best practice, customer complaint its adjudications, in full, every quarter.

¹ BASE http://baseorg.uk/press-releases/disney-celebrates-video-category-success-as-consumer-spend-increases-7-5-per-cent-in-2017/ http://tbivision.com/2018/01/09/netflix-uk-subs-rate-slows-as-now-tv-gains-barb/ https://eraltd.org/news-events/press-releases/2018/streaming-boom-powers-entertainment-market-to-new-all-time-high- of-724bn-in-2017/

14 Non-statutory work: bringing trusted BBFC classifications online

consider whether websites without the music videos that their children Among requests in 2017 for filters contained material that should watch. Under the agreement with the adjudication relating to sites that be restricted to those aged 18 or major UK labels, their trade body the had been restricted to adults only over. The first adjudication related British Phonographic Institute (BPI), by the mobile networks were a to two websites that contained and with independent labels, any new website offering CBD (Cannabidiol) images of a pornographic nature release short-form videos from UK oil/balm products for sale as which we considered unsuitable for repertoire that may contain content a food supplement; a lifestyle children. The MNOs consequently or themes unsuitable for those under website containing references to added filters to these sites. The 12 will be submitted to the BBFC for sexually transmitted diseases in second adjudication related to a classification. the context of promoting sexual website explaining the terms of health awareness; a website offering use of a particular app service. The In 2017 the BBFC classified 51 new business consultancy services; a BBFC considered that this website release music videos for online use. website offering optical components contained no material unsuitable This is down from a peak of 101 in for target and hunting firearms; a for children according to the 2015. The resulting classifications website offering a service providing Classification Framework. broke down to: seven music videos training and consultancy for classified at U; one at PG; 16 at organisations to improve accessibility The BBFC also considered the twenty 12 and 27 at 15. No music videos to LGBT customers, employees and one adjudications under the EE’s submitted in the last twelve months communities; and two websites ‘Strict’ Classification Framework. were classified at the 18 category. dedicated to videogame franchises. We considered eleven unsuitable In all these cases, we found no for children under the age of Participation in this scheme remains content that we determined to be 12. Such material included drug voluntary for the music labels, suitable for adults only. The MNOs references, suggestive images and and as a result support from the consequently removed filters from sex references, strong language, independent labels continues to these sites. violence and gore. EE consequently be low with only one music video maintained or imposed filters on the submitted in twelve months. The The BBFC also found that some eleven sites. BBFC will continue to make these fast sites were correctly placed behind turnaround classification services adult filters, for example a website Music videos 2017 available at a discount to the music that promoted the cultivation of Since 2014 the BBFC has worked with industry to support the classification cannabis and offered instructions the UK music industry to make its of online music videos. We will and equipment for its cultivation. The trusted and understood age labelling continue to work with Government MNOs maintained filters on these available for UK music videos viewed and to engage with record labels sites. online. This helps parents whose both in the UK and the US to promote children use Vevo and YouTube to the scheme and encourage take-up In two cases, we were asked to better understand the suitability of of our classification services.

15 Enforcement

The Video Recordings Act 1984 The BBFC assists Trading Standards stand at the annual Chartered Trading requires that each video work Officers and the police by providing Standards Institute conference; this supplied on DVD, Blu-ray or any Certificates of Evidence in respect promoted the BBFC’s services and other physical format in the UK be of seized works. In 2017, the BBFC provided the opportunity to discuss classified by the BBFC, unless the provided evidence on 298 works. In a range of matters with Trading work is exempt from classification. June, the BBFC hosted an exhibition Standards Officers.

1 Ghost in the Shell (12A)

2 The Lego Batman Movie (U)

16 2 U Universal

The U category, which stands for scene which shows a face-off in the the BBFC classified two popular ‘Universal’, is awarded to films which bull ring between Ferdinand and animations from the Lego Movie are generally suitable for audiences the champion matador. The BBFC franchise, The Lego Batman Movie aged four years and over. The BBFC advised that these moments needed and The Lego Ninjago Movie. The Guidelines state that a U film ‘should to be toned down in order to achieve Lego Batman Movie is an animated be within a positive framework the desired U classification. Scenes action comedy in which Lego Batman and should offer reassuring of dangerous behaviour involving tries to save Gotham City from being counterbalances to any violence railway tracks which could be copied taken over by a group of super- threat or horror’. Although U is the were also removed to achieve the villains led by Lego Joker. There lowest category, there may still be U classification. The distributor re- are scenes of violence throughout issues in the work which need to be submitted the film in which the cuts which includes blasts with fantastical considered. This includes issues such were implemented and the film is weapons, characters delivering as threat, violence, bad language, sex now classified U for ‘mild threat, very punches and kicks, and scenes of references and dangerous behaviour, mild bad language’. mild threat which show characters as well as wider aspects such as caught up in explosions. Although the theme and tone. Threatening situations also arise film is packed with fast-paced action, in the fantasy animation My Little the overall tone of the film is comic One of the most common issues at Pony, a US animation adventure in and light-hearted, and the toys which the most junior category is threat, which the Mane Six go on a journey are seen breaking apart bear no which is carefully considered when to defend their home from a dark resemblance to human figures. The classifying films. The Guidelines force. There are scenes of fantasy Lego Batman Movie is classified state that at U, ‘scary or potentially threat, including a scene in which it’s U for ‘mild comic violence, rude upsetting sequences should be implied that a unicorn’s horn is struck humour, very mild bad language’. mild, brief and unlikely to cause any off by a villain. There are numerous undue anxiety to young children. scenes which show the heroes trying Although fantasy settings are a The outcome should be reassuring’. to escape from the villains, but the mitigating factor, imitable and Ferdinand is an animated comedy threat is never unduly intense, and dangerous behaviour is still in which a powerful bull with a gentle there are always reassurances that cautiously considered at the U nature attempts to avoid his fate in the characters to whom the young category. At U, ‘potentially dangerous the bullring. The distributor sought audience relate are safe. The film is or anti-social behaviour which 1 The Emoji Movie (U) advice for the classification of the film classified U for ‘mild fantasy threat, young children may copy must be before submitting the animation for slapstick violence’. clearly disapproved of.’ In the French 2 The Green Hell formal classification. The animation animation, Big Bad Fox, a brief scene (U) contained darker moments of threat, At the most junior category, a of dangerous behaviour shows two including a scene in which a bull common mitigating factor for most characters light a match in order to 3 Despicable escapes from an abattoir, and a violence is fantasy settings. In 2017, check how full a lawnmower’s petrol Me 3 (U)

18 U Universal tank is. Another character rushes in to stop them, but there is a large explosion off screen. The dangerous behaviour in the scene is clearly presented as a bad idea and the consequences are clearly presented.

Bad language continues to be a principal issue of concern for the public. The early submission of the animation adventure, The Emoji Movie, contained a visual use of ‘WTF’, which is considered as disguised strong language, and a use of the term ‘turd’. The terms are likely to confound parental expectation at 2 the most junior category, so the BBFC advised the distributor to remove the language in order to obtain the desired U classification. The film However, the film is based on a well- tops. The BBFC’s Guidelines at U is now classified U for ‘mild rude known book series and this type of state there may be ‘Occasional nudity, humour, comic threat, very mild bad humour is expected in comedies with no sexual context’ and this type language’. which appeal in particular to younger of cheeky humour is likely to be viewers. Captain Underpants: The familiar to both parents and young A recurring issue at the junior First Epic Movie is classified U for children who enjoyed the previous categories is rude humour. Captain ‘mild rude humour, comic threat’. instalments. Underpants: The First Epic Movie is an animated comedy in which two Rude humour is also an ongoing At U, there may be ‘only very mild young pranksters cause their mean issue in the Despicable Me movies. sexual behaviour (such as kissing) head teacher to turn into the super- In Despicable Me 3, the third and references to such behaviour’. hero, Captain Underpants. There is instalment of the children’s animation In A Woman of No Importance, a plenty of rude humour throughout, comedy, one scene shows two recording of a live performance of including jokes around the super- characters’ clothes being blown off the Oscar Wilde drama, there are villain’s name, Mr Poppypants, and by a powerful gun, resulting in some references to two people ‘making jokes about the pronunciation of the undetailed buttocks nudity. There is love’. The society expectations from planet Uranus. There are also scenes also a verbal reference to ‘boobies’ the period about marriage and in which toilets become weapons and and a scene in which the Minions pregnancy also places a central frequent use of whoopee cushions. play around with coconut shell bikini theme in the performance, but it is

19 U Universal

treated in a discreet manner. create better lives worldwide. The being injured by crashes, there is documentary contains images of never any sight of any injury detail, Discrimination is another issue which natural disasters which also includes and the historical context and the is considered cautiously through photos in newspapers of collapsed reassuring voiceover throughout all the categories, especially at the buildings, featuring headlines about contains the film at the U category. junior categories. In the US family how many people were killed and The documentary is classified U for comedy Diary of a Wimpy Kid: injured. There are also images of ‘footage of car crashes, very mild The Long Haul about a family people being pulled out of rubble bad language’. who take a road trip to attend their after an earthquake in Nepal. grandmother’s ninetieth birthday However, these images are part of a The BBFC also classifies works for party, there is one scene in which a wider context as the documentary online distribution for platforms such teenager refers to his brother as a focuses on positive outcomes of as Netflix and Amazon in which the ‘spaz’. In line with BBFC Classification how engineers are working hard to same classification standards apply. Guidelines research, the term is create safer buildings for the future. The Netflix pre-school series Julie’s unacceptable at the U category The documentary is classified U for Greenroom in which Julie Andrews and the distributor chose to remove ‘images of natural disasters’. teaches performing arts to a group of the language in order to achieve children is clearly aimed at younger a U classification. The film is now In The Green Hell, a documentary viewers as there is an emphasis on classified U for ‘very mild bad about the history of the Nürburgring educational, simple narratives and language, rude humour’. race track, archival footage shows interactive singalongs which promote sight of cars crashing which combust positive messages. The first season There are also films which have been into flames. Although there are is classified U with BBFCinsight of ‘no classified U that are more likely to references to drivers dying and material likely to offend or harm’. appeal to a mature audience. For example, Menashe is a US Yiddish language drama in which a widower battles for the custody of his son. There are scenes of emotional upset, including scenes which show a family 1 Diary of a arguing over the care of a young boy. Wimpy Kid: There are also references to death, The Long Haul but the themes are treated sensitively (U) enough to be contained at the most junior category. The film is classified 2 Dream Big: U for ‘very mild violence’. Engineering Our World (U) Films which are classified U can 3 Coco (PG) also be mitigated by an educational context. The US documentary Dream Big: Engineering Our 2 World looks into the work of engineers who are helping to

20 3 PG Parental Guidance

Works classified PG are generally dangerous rapids while hanging on on the child’s capacity for resilience suitable for children aged eight to a log. These scenes of threat are and ability to accept loss as a natural years and over. PG films may a little too intense for very young part of life, ensure that the film is depart from the safe and generally children, but the reassuring outcomes suitable for older children. The film non-threatening world generally and overall comic and light-hearted is classified PG, with BBFCinsight presented in films classified U, but tone of the film act as mitigating advising of mild threat and violence. will usually feature elements such factors, allowing it to be classified at as humour or fantasy, in order to PG. Mild threat and violence also feature ensure that slightly older children in Disney’s live action re-make of the are still able to enjoy them. 2017 Another animated film which features classic animated feature, Beauty and saw a number of releases in mild threat is Coco (classified in the Beast, which is about a young which characters that children can 2017; released in 2018), Disney’s woman who is imprisoned in an identify with are involved in exciting animated adventure, set in Mexico, enchanted castle. The film contains adventures. in which a young boy is magically several scenes of mild violence, transported to the Land of the including a sequence in which a man Paddington 2 is a comedy adventure Dead after stealing a guitar from is knocked unconscious with a heavy film in which Paddington Bear is the mausoleum of his musical hero. punch to the face, a scene in which accused of stealing a valuable pop- When Miguel – the film’s 12-year-old a man is shot, without sight of blood up book of London after expressing protagonist – first encounters skeletal or injury, and a battle scene in which an interest in buying it for his Aunt characters in the underworld, he is an angry mob clash with the magical Lucy’s 100th birthday. In pursuit afraid and fears that they will hurt inhabitants of the castle. Although the of trying to clear his name and him. However, he soon learns that the live action nature of the film ensures 1 Paddington 2 capture the real culprit of the crime, dead are no scarier than the living, that the violence is more visually (PG) Paddington encounters various and begins to befriend his dead detailed than in its 1991 animated 2 Hotel Salvation threats and challenges. The threat is ancestors. The Land of the Dead predecessor, the familiarity of the (PG) most pronounced in a scene in which is a vibrant, exciting and magical characters and the story, along with Paddington has to be rescued from setting which provides a reassuring the clear fantasy context, enable the 3 Darkest Hour drowning after he becomes trapped counterbalance to the film’s darker violence to be acceptable at PG. (PG) in a train carriage which has fallen moments involving the death of into a river. There is also a scene characters. The fantastical nature of Mild violence outside of a fantasy in which Paddington floats towards the threat, along with an emphasis context features in the British

22 PG Parental Guidance biographical drama, Goodbye Christopher Robin, a film about author A.A. Milne and his son, who inspired the Winnie the Pooh stories. The film contains brief flashbacks to the battlefields of World War I, in which Milne is seen running through the trenches as explosions erupt around him. In one sequence, Milne turns arounds and looks at dead bodies lying on the ground, some of which have blood on them. The injury detail is limited and the violence as a whole serves to contextualise Milne’s behaviour towards his son, after it becomes clear that he is suffering from post-traumatic stress disorder. The historical context, narrative justification and discreet sight of blood and injury detail allow the mild war violence to be classified at PG. 2 Another British biographical drama classified in 2017 is Darkest Hour, a film based on Prime Minister Winston Churchill’s attempts to rally the nation A film based on the life of another perceived. The racism in the film is against Germany’s advances across British historical figure is Victoria clearly disapproved of by the work Western Europe during World War and Abdul, which is a drama based as a whole, which serves to educate II. The film contains uses of mild on Queen Victoria’s relationship about the racist social attitudes of bad language and a rude hand with an Indian man who joined the time. The BBFC considered the gesture when Churchill directs a her household staff. The racist treatment of the racism theme and V-sign towards a journalist. Although attitudes that prevailed at the time racist language to be appropriately the rude gesture is prominently are reflected in scenes in which classified at PG. framed in close-up, Churchill is Indian men are treated in an abusive subsequently instructed on how to manner, including when white men An Indian film classified PG is deliver the gesture in an appropriate manhandle the protagonist after the the Hindi-language drama Hotel way, so that it is not offensive. The death of the Queen and burn the Salvation, a film in which an elderly critique of the gesture by another belongings which were given to him man decides to travel to the holy city character, and the fact that Churchill by the monarch. Racist language is of Varanasi for salvation. The film is a historical figure, ensures that also evident when an Indian man includes a couple of drug references, the issue is acceptable at the upper ironically refers to his Indian friend such as a reference to opium when junior category. The film is classified as a ‘wog’ in order to emphasise a man is asked whether he’s ever PG with the BBFCinsight of ‘mild bad the racist way in which they are smoked the drug, and a reference to language’. marijuana when a man reads from a woman’s diary which states that she had once asked for two glasses of lassi laced with marijuana. In the context of this genteel drama that has no natural appeal to young children, the infrequent drug references, which are mitigated by the fact that no on-screen drug misuse occurs, are allowable at the PG category.

An animated film which references drugs and deals with challenging themes is the French coming-of- age film My Life As A Courgette. The film is about a young boy who is transferred to a care home after accidentally causing the death of his alcoholic mother. While at the 3 care home, the boy meets other children who have also experienced

23 PG Parental Guidance trauma. In conversations, children make undetailed reference to adults taking drugs, committing suicide and murder; a girl refers to her father as a ‘creep’ who is now in prison, and admits that she has nightmares about him. The references to children’s abusive pasts are all implied, with no explicit verbal detail about any of the events. The film also contains mild sex references in comic conversations between child characters as they refer to adults ‘wriggling around’ and ‘willies exploding’. The references demonstrate the children’s limited and inaccurate understanding of 1 sexual behaviour and features no direct verbal references to sex. The sensitive treatment of the issues lying in a sleeping bag, kissing and BBFC applies the same classification raised in the film are sufficiently talking romantically towards one standards when classifying such brief, discreet and justified by another, before the boy strokes content. An episode classified PG the overall context, which offers a his girlfriend’s skin and begins to includes a line of dialogue in which positive and reassuring outlook. The position himself on top of her. Sexual a character exclaims that he and a BBFC classified the film PG with activity is only implied and the robot woman ‘did a bunch of amazing the BBFCinsight advising of mild scene as a whole offers a positive awesome stuff which almost turned sex references and references to and respectful portrayal of romantic out to be sex’. Mild sex references traumatic childhood experiences. relationships between young also feature in Terrace House: Aloha characters that is unlikely to confound State, a Japanese reality television The Space Between Us is a romantic parental expectation. The film is series that is also distributed on science fiction film, in which a classified PG. Netflix. A particular episode from teenage boy - who was born on the series contains a reference to a Mars - travels to Earth for the first Mild sex references are also a man ‘sleeping’ with a woman, a sex time and falls in love with a high defining issue in episodes of the reference which the BBFC considers school student. The film contains a Netflix comedy series The Good to be sufficiently discreet enough to love scene between two teenage Place. Although the series is be suited to the PG category. characters in which they are seen intended for online distribution, the

1 The Space Between Us (PG)

2 Victoria and Abdul (PG)

3 Star Wars: The Last Jedi (12A)

24 3 12A Cinema/12 Home Entertainment

The 12A category is awarded to films frequently submitted to the BBFC 12A classification. that are suitable, in general, for those with a 12A category request. This aged 12 and over. An adult may take is helpful in indicating the audience Another of 2017’s high profile a younger child if, in their judgement, that the distributor is hoping to releases was War for the Planet the film is suitable for that particular reach. The BBFC Classification of the Apes, an action sci-fi sequel child. In such circumstances, Guidelines at 12A allow for the in which the leader of the ape responsibility for allowing a child depiction of moderate violence, rebellion searches for his son while under 12 to view the film lies with the although the instances should not also facing a human army led by accompanying adult. To help adults feature emphasis on blood or injury a merciless colonel. Brief bloody make such decisions, the BBFC detail. 2017 saw the release of moments include aftermath images provides BBFCinsight, available on numerous action films that obtained of the massacre of an ape family the BBFC website and free mobile a 12A classification for moderate and of apes that have been tortured and tablet apps, which describes violence. These include Star Wars: and killed. In another scene an ape significant issues in the film that The Last Jedi, the ninth film in the is whipped, resulting in bloody influenced its classification, such science fiction saga and the sequel lacerations on his back. Occasional as bad language, sex, nudity and to 2015’s Star Wars: The Force gory moments are allowable in violence. The 12 classification is the Awakens. Like The Force Awakens, 12A films if justified by context and equivalent category for video works, which was also rated 12A, The Last providing there is no focus on blood and no one under 12 may buy or rent Jedi contains combat sequences or wound detail. In War for the a video classified 12. including lightsabre battles and aerial Planet of the Apes the bloodier dogfights. While occasionally intense, moments are brief and often occur in Action blockbusters, especially those the action is restrained in terms of the aftermath of violence rather than in the sci-fi and fantasy genres, are blood and injury detail, allowing a during the battles themselves. The film was therefore classified 12A for moderate violence and injury detail.

Action violence and injury detail may be mitigated by a science fiction 1 Dunkirk (12A) or fantasy context that distances such sequences from reality. This 2 War for the is often the case in superhero Planet of the action blockbusters, a genre which Apes (12A) remained a popular cinema staple in 2017. Examples include DC 3 Jumanji: Welcome to Comics adaptations Wonder Woman the Jungle and Justice League, as well as (12A) Marvel sequels Thor: Ragnarok and Guardians of the Galaxy 2 2. Guardians of the Galaxy 2 features explosive spaceship battle

26 12A Cinema/12 Home Entertainment sequences, as well as occasional By contrast, other films present the story of a 15-year-old girl scenes of shoot-outs and hand-to- threat and violence within a more who becomes a YouTube singing hand combat. The weaponry used realistic context. 2017’s Dunkirk, sensation but must hide her new is futuristic in nature and neither the for example, is based on the true fame from her abusive father. shooting nor the physical blows result events of the 1940 Allied evacuation Potentially distressing scenes include in realistic injuries. We classified the of Northern France. The film contains one in which the heroine and her film 12A for moderate fantasy action sustained threat throughout, as well younger brother take shelter in violence, sex references and bad as scenes of violence including her bedroom while listening to the language. sequences in which people are shot sounds of their father repeatedly or caught in explosions or fire. The hitting their mother. However, very In addition to fantasy violence, sound effects and musical score little violence occurs on screen, Marvel’s Spider-Man: Homecoming further heighten the intensity of and the overall tone is uplifting also contains sequences of threat scenes in which soldiers face tense, and inspirational. Under the BBFC including one in which Spider- life-threatening situations. However, Classification Guidelines, Secret Man comes to the aid of a group the film is firmly grounded in a Superstar is more appropriately of teenagers who are trapped in a historical context and considerably placed at 12A, which does not lift in a crumbling building. Scenes restrained in terms of gory detail. preclude admission to more robust of moderate threat are permissible Consequently, the BBFC decided that viewers under the age of 12 as long at 12A as long as the overall tone this level of threat was allowable at as they are accompanied by an adult. is not disturbing. In the case of 12A alongside BBFCinsight advice Spider-Man: Homecoming, that clearly highlights the film’s key Companies sometimes choose to individual moments of threat within classification issues. We therefore submit unfinished versions of films the action sequences are generally classified Dunkirk 12A for ‘sustained to the BBFC for advice on how to quickly resolved, and the tension is threat, intense sequences, moderate achieve a preferred classification. frequently defused by the characters’ violence and strong language’. One example of a film submitted comic quips. The film was therefore for advice ahead of its formal classified 12A for moderate fantasy In Hindi-language drama Secret classification in 2017 is action sequel violence, threat, sex references and Superstar, one of the category- Fast & Furious 8. The film features obscured strong language. defining issues is scenes of domestic frequent stylised action violence violence. Secret Superstar tells without focus on individual blows,

27 12A Cinema/12 Home Entertainment in keeping with previous 12A-rated entries in this franchise. However, the distributor was advised that in order for this film to achieve the requested 12A, reductions would have to be made to a sequence in which a man’s neck is broken by a heavy punch to his jaw. As a result of this advice the distributor decided to make changes to the scene in question prior to the formal submission of the film. The version submitted for formal classification was classified 12A for moderate violence and infrequent strong language.

The BBFC classifies a diverse range of world cinema, although some films intended to be viewed by people of all ages in their countries 1 of origin feature material that is not permissible under the BBFC Guidelines at 12A. This is sometimes true for South Asian films, a large slow-motion spurts of blood resulting number of which are submitted to from shootings. The BBFC advised Just as depictions of violence, the BBFC each year. In 2017 this the distributor that the film as it threat and injury detail must remain included Raees, a Hindi-language stood would be classified 15. The moderate in order to qualify for crime drama in which a man rises distributor chose to re-edit the film in a 12A, so must depictions of, and to become the most powerful order to achieve a 12A classification. references to, sex. My Cousin bootlegger in Prohibition Gujarat. Consequently, the BBFC classified Rachel is a romantic mystery The original version contained the final version of the film 12A for period drama in which a young man moments of strong bloody violence moderate violence and occasional becomes obsessively enamoured including a stabbing and several bloody images. with the woman he holds responsible

1 My Cousin Rachel (12A)

2 Fast & Furious 8 (12A)

3 A Quiet 2 Passion (12A)

28 12A Cinema/12 Home Entertainment

for the death of his cousin. The film screen. The film strongly emphasises violence and language is mitigated contains a scene in which a man is the negative impact of drug misuse by the historical documentary seen making thrusting motions on on the character’s life, in addition context, and the film does not top of a woman before groaning in to the life-affirming success of his condone or endorse discriminatory climax. Because there is no strong battle with addiction. As a result, the language or behaviour. The BBFC detail, the film conforms to the BBFC BBFC classified 6 Below 12A, with classified I Am Not Your Negro Guidelines at 12A and is rated BBFCinsight advising that it contains 12A, with BBFCinsight advising that it accordingly. Meanwhile, one of the ‘drug misuse, moderate threat and contains ‘images of real violence and key classification issues in fantasy injury detail’. racist and strong language’. adventure sequel Jumanji: Welcome to the Jungle is infrequent moderate At 12A, the BBFC Classification Bad language is another key issue sex references. These include a Guidelines state that discriminatory in classifying films at 12A. The joke about penis size and a scene language or behaviour ‘must not frequency of strong language (‘f**k’) in which a character experiences be endorsed by the work as a at this category is not always the an implied, off-screen erection. The whole. Aggressive discriminatory sole determining factor. Contextual references are occasionally crude language or behaviour is unlikely justification, such as the manner but never graphic or strong and thus to be acceptable unless clearly in which language is used, in also adhere to BBFC Guidelines at 12A. condemned’. 2017’s I Am Not Your taken into account. An issue that may Negro is a documentary, based challenge the placing of works at 12A In the case of scenes of drug use, on James Baldwin’s unfinished is strong language (‘f**k’). The BBFC BBFC Guidelines at 12A state manuscript Remember This House, Guidelines state that such language that they ‘must be infrequent and which examines the history of racial may be permitted ‘depending on should not be glamorised or give discrimination and violence in the the manner in which it is used, who instructional detail’. An example USA. The film contains multiple uses is using the language, its frequency of this treatment of drug use and of discriminatory terms, as well as within the work as a whole and any references to drugs can be seen in photographs and archive footage special contextual justification’. survival thriller 6 Below in which of violence directed at African- Overdrive is an action thriller in a snowboarder who is addicted to Americans including race-based which two brothers are forced into methamphetamine must fight to stay attacks during the Civil Rights era stealing classic cars for a crime alive after he becomes lost in the and the beating of Rodney King by boss. There is a total of eight uses mountains. The film contains images police in Los Angeles in 1991. The of strong language in the film, but of white powder in bags and verbal film also features images of dead all of them feature in the particular references to ‘meth’ and cocaine, bodies including a photograph of context of the lyrics of a song playing and in one scene the main character the faces of black men who have over the opening and end credits, can be heard ingesting drugs off been lynched. In this case the racist rather than in dialogue exchanges

29 12A Cinema/12 Home Entertainment

it was classified 15. Under current Guidelines, however, The Graduate is classified 12A for theatrical release with the BBFCinsight ‘moderate sex references, infrequent brief nudity’. By contrast, the classification of Japanese drama An Actor’s Revenge, also first released in 1967, was raised from PG to 12A for scenes of suicide and moderate threat.

Recordings of live performances of theatre, opera and dance productions are occasionally submitted to the BBFC for classification if they are to have a cinematic release. One such example in 2017 was Bizet - Les Pecheurs De Perles, a recording of a live performance at 1 the Metropolitan Opera of Georges Bizet’s opera in which two friends are both in love with a priestess. In this adaptation, a pair of lovers between characters in the film where Another film that deals with serious are doused with petrol after being they might have been more audible issues is Loving Vincent, an sentenced to death, but the sentence or used in an aggressive or sexual animated drama about the final days is not carried out. There is also a manner. In fantasy action adventure of Vincent Van Gogh which contains sequence in which a man pushes a Kong: Skull Island, a team of frequent references to Van Gogh woman to the floor and climbs on top scientists and soldiers venture onto a having taken his own life. Because of her before she pushes him away. previously unexplored island in the the theme of suicide and mental As a result, Les Pecheurs De Perles South Pacific where they encounter illness is handled with sensitivity, is classified 12A for moderate threat gigantic creatures including the titular Loving Vincent is classified 12A for and brief sexual threat. Also classified ape. In this film there is one clear suicide theme, infrequent moderate in 2017 was National Theatre Live: use of ‘f**k’ in addition to one cut-off sex and injury detail. Meanwhile, Hedda Gabler, a performance of use of a particularly strong term Irish drama The Drummer and the Henrik Ibsen’s 1891 play about (‘motherf**ker’). Use of this term is the Keeper contains a short scene a newly-married woman who has unusual in films classified 12A but in depicting an act of self-harm. This become bored with her life. Hedda this case the BBFC considered the film tells the story of a rock drummer Gabler is classified 12A for a scene word sufficiently obscured to allow with bipolar disorder who befriends of suicide. a 12A classification for moderate a teen with Asperger’s syndrome. In threat, violence and infrequent strong one scene a man is shown pouring Several Video on Demand services language. lighter fluid over his sleeve and then voluntarily choose to submit works setting his arm on fire. No injury to the BBFC in order to obtain a Occasionally, classification issues detail is depicted and the man is classification. Following the release that are not of a typical nature will subsequently shown recovering from of a pilot episode in 2016, in 2017 arise and present an interesting his injury and receiving treatment for Amazon Studios released a five- challenge for the BBFC. This is the mental illness. Taking into account episode ‘half series’ of superhero case in biographical period drama the brevity of the scene and the lack comedy reboot The Tick. Three of A Quiet Passion, which follows the of strong detail, the BBFC classified those five episodes are classified life of nineteenth-century poet Emily The Drummer and the Keeper 12 for issues including moderate Dickinson from her childhood to her 12A for brief self-harm, infrequent violence and threat, and infrequent reclusive later years. Much of the discriminatory terms and moderate strong language. 2017 also saw second half of the film depicts the sex references. the release of numerous stand-up debilitating illness that eventually comedy specials via Netflix’s online resulted in her death, although the Older films are sometimes service. Ryan Hamilton: Happy stronger scenes in which Dickinson resubmitted to the BBFC in order to Face, which features a recording of suffers from seizures and delirium obtain a contemporary classification. a live performance in New York City are infrequent and generally brief. In 2017 this included Mike Nichols’ by the US comedian, is classified 12 1 National Theatre Live: However, in recognition that such 1967 romantic comedy drama for drug references. In submitting The Hedda Gabler scenes may prove distressing for Graduate. Originally rated X in these works for classification, the (12A) some audiences, the film is classified 1968, this was changed to AA when Video on Demand services provide 12A, with accompanying BBFCinsight the new category was introduced their customers with a consistent 2 Get Out (15) advising that it contains ‘upsetting in 1970. When the film was first and recognised classification system scenes of illness’. released on video in 1985, before across cinema, home media and the introduction of the 12 certificate, online viewing.

30 2 15

In 2017 the BBFC classified more audience. 2017 saw Hugh Jackman and strong violence is a recurrent feature films at 15 than at any give his final performance as the category-defining issue. Kaabil, for other category. Unlike the 12A superhero Wolverine in Logan, instance, is a Hindi-language drama classification, which permits following the eponymous hero in which a blind man seeks revenge children under the recommended as he tries to care for the elderly on the men who murdered his wife. age to be admitted subject to adult Charles Xavier until the arrival of a The film contains numerous fistfights, accompaniment, 15 is a restrictive young mutant, Laura, brings trouble. beatings and use of bladed weapons classification. Accordingly, films Jackman first played Logan/Wolverine with resulting bloody moments, and classified 15 may include significantly in 1999’s X-Men, kicking off a is therefore classified 15. In some stronger content than those classified franchise that is largely comprised of cases distributors will ask for cuts to 12A and may also deal with more films classified 12A. Logan, however, a film classified 15 in order to obtain challenging themes. As with all draws on the Western genre and a 12A classification instead. Wherever categories, the BBFC provides the character’s violent comic book possible, the BBFC provides a BBFCinsight for films classified 15. storylines to explore themes of Cuts List upon request. Fantasy This is available on the BBFC website ageing and death. In portraying a action thriller Baahubali 2: The and free mobile and tablet apps and grittier, downtrodden version of the Conclusion, in which a son seeks describes significant issues in the character, Logan contains scenes vengeance for his father’s death, was film that influenced its classification. of strong bloody violence and an unusual case in which the film was occasional strong language (‘f**k’). released in multiple versions. The BBFC Guidelines state that at 15 Similar to 2016’s Deadpool, the Hindi-language release is classified violence ‘may be strong but should fantastical context of the violence, 15, but following cuts to two scenes not dwell on the infliction of pain or including Logan’s superhuman of stronger violence, the Telugu, 1 A Man Called injury. The strongest gory images healing abilities, mitigates the gorier Malayalam and Tamil versions are Ove (15) are unlikely to be acceptable. Strong moments and the film is classified 15 classified 12A. sadistic violence is also unlikely to accordingly. 2 Moonlight (15) be acceptable.’ Although many action The theatrical release of action blockbusters target family viewing, A large number of South Asian films thriller John Wick: Chapter 2 is also 3 Logan (15) some are pitched towards an older are submitted to the BBFC every year classified 15 after receiving cuts.

32 15

The film, a sequel to 2014’s John Wick, follows a former hitman as he fights a criminal gang. It features similar scenes of strong violence to its predecessor, including prolonged gunfights. The original submission of John Wick: Chapter 2 was classified 18 because of the level of detail in a suicide scene, but the distributor chose to make cuts to this sequence in order to obtain a 15 classification. The cut material has been reinstated for the film’s home media release, which is classified 18 for strong violence and gory images.

Suicide is a complex and difficult issue. The BBFC’s classification decisions are informed by work with charities and researchers, 2 including close collaboration with The Samaritans. At 15, suicide may be portrayed and described but should not dwell on details that not contain graphic detail or novel decisions the BBFC considers the could be copied. The darkly comic techniques, and Ove’s actions are not context, presentation, audience and Swedish drama A Man Called Ove, glamorised or condoned. The film the level of detail when classifying for instance, explores suicide in a is therefore classified 15 and carries scenes of sexual violence. A recent thought-provoking and sensitive the short form BBFCinsight ‘suicide example is the 2017 crime thriller manner. The film follows an elderly theme’. Wind River. Set on a wintery Native man as he considers taking his own American reservation in Wyoming, life in order to be reunited with his A similarly difficult issue is sexual the film follows an FBI agent and a deceased wife. However, as his violence. At 15 BBFC Guidelines hunter as they investigate the death attempts are unintentionally foiled he state that there may be detailed of a young woman. In flashback we comes to build a better relationship verbal references, but that ‘depiction see the woman being attacked by with his neighbours and friends. of sexual violence must be discreet a group of men while her boyfriend The scenes of attempted suicide do and justified by context.’ In making desperately tries to protect her. The

33 15 sequence is a harrowing depiction The film mixes action blockbuster as with language, their context is an of sexual violence, but it is also tropes with those of the horror film, important factor in the classification relatively limited in terms of visual including a sequence in which process. In 2017 the lifeguard detail, the viewer is never invited the mummy drains the life force comedy Baywatch, based on the to sympathise with the attackers, from a group of policemen and 1990s TV series of the same name, and the event is crucial to the film’s transforms them into zombie-like contained numerous sex references narrative. Wind River is classified creatures. These moments exceed and some crude humour. In one 15 accordingly, with the BBFCinsight the allowance for threat and horror sequence a young man obtains an ‘strong violence, injury detail, sexual at 12A but are containable at 15. The erection after a woman performs violence, language’. film is classified accordingly, with the the Heimlich manoeuvre on him. BBFCinsight ‘sustained threat, horror, Although his penis is not shown, a As well as fictionalised scenes of brief strong violence’. bulge appears in his shorts which he violence the BBFC also encounters then gets caught in the wooden slats occasionally graphic images in A common issue that places works of a beach recliner. While too crude documentaries. Ferrari: Race to at 15 is use of strong language for 12A, the comic nature of the scene Immortality is a documentary (‘f**k’, ‘motherf**ker’, ‘c**ksucker’) and relative visual discretion does not exploring the dangers of motorsports and very strong language (‘c**t’). exceed BBFC Guidelines at 15 and in the 1950s and includes archive The latter is largely dependent on the film is classified accordingly. footage of a car crashing into a context, with BBFC Guidelines stating spectator stand. Subsequent shots that the term ‘may be permitted, At the 15 category scenes of sex reveal images of those killed by the depending on the manner in which rarely show strong detail. In the crash, including brief injury detail on it is used, who is using the language, British drama God’s Own Country, the bodies. Despite the documentary its frequency within the work as a in which a young Yorkshire farmer context these images exceed what whole and any special contextual falls in love with a Romanian migrant audiences would expect from a 12A justification.’ The British comedy The worker, there are scenes depicting film. Ferrari: Race to Immortality Death of Stalin, for instance, contains vigorous thrusting, male buttock is therefore classified 15, with a single comic use of very strong nudity and implied oral sex. As BBFCinsight warning that it contains language and is therefore classified none of the scenes contain graphic ‘images of real dead bodies’. 15. The crime drama Trespass detail the film is classified 15 for Against Us, however, contains eight strong sex and language. Season 2017 saw a number of high- uses of very strong language. As One of the HBO drama series Big profile documentaries and dramas these are largely comic or even used Little Lies, based on the book of exploring race in America. One affectionately in colloquial dialogue, the same name by Liane Moriarty, is such example is Kathryn Bigelow’s the BBFC decided that the language collectively classified 15 for sexual Detroit, depicting an instance of is contextually justified at 15. violence, strong language and sex. police brutality during the 1960s In Episode 6, entitled ‘Burning Love’, race riots when a group of men Strong language is often connected to there is very brief sexual detail and women were terrorised by law other issues such as sex references. when a woman touches a man’s enforcement officers in a hotel. The These can be verbal or visual and, film is classified 15 with the short BBFCinsight description ‘strong threat, violence, language’. The long form BBFCinsight, available on the BBFC website and free apps, additionally notes that some, but by no means all, of the film’s threat and violence features racial and racist overtones.

The BBFC’s Classification Guidelines are informed by public consultation. One area in which the public have indicated that they prefer caution is in the classification of horror films. While works such as the horror thriller Get Out contain violence and 1 Trespass language that place the film at 15, Against Us other films contain sustained scenes (15) of supernatural threat. One example is 2017’s The Mummy, starring Tom 2 Baywatch (15) Cruise as a soldier who accidentally uncovers a cursed Egyptian tomb 1 and releases an ancient evil spirit.

34 15

erect penis. The series explores the comes to realise the effect her actions Williams’ Cat on a Hot Tin Roof, couple’s relationship which includes had on her life and on her son, which starring Sienna Miller and Jack themes of domestic abuse and corresponds to the BBFC Guidelines O’Connell. Examining a couple’s female empowerment. This scene at 15 which state ‘the work as a whole strained relationship on a hot is important in marking a turning must not promote or encourage Mississippi night, this production point in the woman’s life as she finally drug misuse.’ Moonlight is therefore increases the use of strong language rejects the man’s aggressive and classified 15 for strong language, sex, in the original text. National abusive behaviour. The sequence sex references and drug misuse. Theatre Live: Cat on a Hot Tin is therefore contextually justified, Roof is therefore classified 15 for and ‘Burning Love’ is accordingly Older films are sometimes strong language and sex references. classified 15 and carries the resubmitted to the BBFC in order to National Theatre Live: Young individual episode BBFCinsight obtain a contemporary classification. Marx, the inaugural production of the ‘strong language, sex references, In 2017 this included a new release new Bridge Theatre, is also classified nudity’. of 1991’s Terminator 2: Judgment 15 for strong language. Starring Day which had been converted into Rory Kinnear in the title role, the play Context was similarly important in 3D. However, despite the new format, depicts the philosopher and writer’s classifying the Oscar-winning drama the category-defining issues had not days in London, evading his debtors Moonlight, which explores the altered and the film retained its 15 and the police while living in Soho. impact of a young man’s upbringing, classification for strong violence and relationships and surroundings language. As well as our statutory works, across three periods of his life. Drug many Video on Demand services misuse is one of the film’s category- Occasionally, recordings of live voluntarily choose to submit works defining issues. The protagonist’s performances of theatre, opera and to the BBFC in order to obtain a mother is a drug addict who uses dance productions are submitted classification. In 2017 Amazon Studios ‘crack’ and marijuana, although the to the BBFC for classification if they launched The Marvellous Mrs. drama portrays the negative impact are to have a cinematic release. In Maisel, a comedy drama series of drug misuse through her cruel and 2017, one such example was the following a young housewife in the abusive behaviour. She eventually Young Vic’s production of Tennessee 1950s who begins performing stand-

35 15

up comedy. The series is classified Among the music videos which ‘Agnes’ for drug references; and 15, with issues including language, received a 15 classification in 2017 Circa Waves’ ‘Fire That Burns’ for sex, violence and drug misuse. are Tinie Tempah’s ‘Text From Your bloody images. Also on Amazon Video is the US Ex’ for strong sex references; The comedy series Comrade Detective, Script’s ‘Rain’ for strong language and which masquerades as a ‘lost’ sexualised images; Glass Animals’ 1980s Romanian crime thriller with contemporary stars providing English language dubbing. The series is classified 15 for strong language, sex, nudity, violence and suicide scenes.

In 2017 Netflix released the drama Okja theatrically as well as on its online service. In the film, a ‘super- pig’ is taken from Korea to New York but is followed by the girl who raised it and who is intent on stopping the animal being killed and eaten. Okja is classified 15 for strong language. Also released in 2017 is the Marvel team-up series The Defenders, Big Little which sees Daredevil, Jessica Jones, 1 Lies (15) Luke Cage and Iron Fist come together to stop an evil organisation 2 National from destroying New York. The series Theatre Live: contains strong violence, gore, sex Cat on a Hot and language and is classified 15 Tin Roof (15) accordingly. 3 T2 A range of category-defining issues 2 Trainspotting (18) can also be seen in our ongoing work classifying music videos online.

36 3 18

Where concerns arise about criminal behaviour; illegal drugs; computer game which includes content in films and videos at lower violent behaviour or incidents; or implied tentacular rape. categories they can usually be dealt human sexual activity’. Throughout with by giving a higher classification. 2017 the BBFC continued to give Strong sexual threat features in At 18, however, the only option may special regard to harm issues some 2017 releases. In Suntan, a be to cut or refuse to classify a work. using classifications at 18 where Greek drama in which a middle- The BBFC’s Classification Guidelines appropriate and cutting material aged doctor on an island becomes at 18 therefore reflect a desire to where necessary. infatuated with a young tourist, balance concerns about protecting a woman is drugged, dragged rights to freedom of expression Some of the most challenging along the ground, and then almost with a need to protect vulnerable material considered by the BBFC raped while unconscious during a individuals, and wider society, from in 2017 concerned representations prolonged scene. However, the film the possible harmful effects of some of sexual violence. The BBFC’s does not condone the actions of the film and video material. This position Classification Guidelines state that we attacker so, accordingly, the BBFC corresponds with the legal framework may refuse to classify content which classified the film 18. within which the BBFC operates, makes sexual or sadistic violence including the Human Rights Act 1998, look appealing or acceptable; In Hounds of Love, an Australian the Video Recordings Act 1984, and reinforces the suggestion that victims crime thriller in which a teenager is the Obscene Publications Acts 1959 enjoy sexual violence; or invites abducted by a serial-killing couple, and 1964. The BBFC’s Classification viewer complicity in sexual violence a kidnapped teenage girl is chained Guidelines, underpinned by strong or other harmful violent activities. to a bed by serial killers who, it is public support, respect the right of implied, repeatedly rape their victims adults to decide for themselves what Sexual and sexualised violence were before murdering them. There is to watch. The BBFC keeps exceptions the key factors in the BBFC classifying strong sexual threat throughout, to this principle to a minimum. several feature films at 18. Elle, a including a sustained scene of French psychological thriller in which attempted rape. The film is therefore Since its amendment in 1994, the a successful businesswoman tries to classified 18, with BBFCinsight 1 Gunpowder Video Recordings Act has placed a establish the identity of a man who informing viewers of ‘sustained (18) duty on the BBFC to have ‘special raped her, showed rape scenes that sexual threat’. regard (among other relevant factors) included female breast and buttock 2 Suntan (18) to any harm that may be caused nudity, accompanied in some cases Bridgend is a British drama in which to potential viewers or, through by the delivery of punches, kicks and a teenage girl and her father move 3 Mother! (18) their behaviour, to society by the slaps. Elsewhere, there is gameplay to a town where a number of local manner in which the work deals with: footage from a violent fantasy teenagers have taken their own

38 18 lives. In a scene of strong sexual threat, a young man pins a young woman to a bed as he prepares to rape her. However, he stops himself before taking the sexual assault any further. The theme of teenage suicide also runs throughout the film as a group of friends deal with their grief in the aftermath of a series of deaths, and there are frequent verbal references to suicide and several people are seen dead with nooses round their necks after they have hanged themselves. The film also contains occasional uses of very strong language (‘c**t’). Accordingly, the BBFC awarded the film an 18 classification.

The link between media effects and harm can be inconclusive and are 2 a good deal less convincing where violence without a sexual element is concerned and the BBFC’s treatment of non-sexual violence at 18 reflects the BBFC because of the strength are ordered by an unknown voice this. The BBFC remains confident of their depictions of violence. In over the company’s intercom to the differentiation in its treatment the US fantasy drama Mother!, the take part in a deadly game. There between sexual and non-sexual relationship between a husband is frequent strong, bloody violence violence is substantiated by the and wife is tested by the arrival of in scenes in which people are shot, available evidence and, additionally, visitors to their home. Strong violence stabbed or beaten. In one scene, a research undertaken to inform the includes shootings and stabbings that woman repeatedly chops at a man’s BBFC Classification Guidelines shows result in bloody detail, and a woman head with an axe, whilst in another the general public supports this is set upon by a crowd and beaten scene a man repeatedly smashes position. in a scene which also includes very a tape dispenser against a man’s strong language. There is also a face. Both of these scenes are also In 2017, as in previous recent years, scene in which a baby is killed and accompanied by strong injury detail. no cuts were made on the grounds of eaten. These scenes required the Accordingly, the BBFC classified the violence alone. adult classification. film 18.

There were, however, several films The Belko Experiment is a US Blade Of The Immortal, a Japanese placed at the adult category by thriller in which office employees fantasy drama in which a samurai joins forces with an orphan, contains bloody swordfights involving dismemberment, and the violence is sometimes sadistic. The BBFC awarded the film an 18 classification.

Scenes of strong violence, torture and gory images also meant some television drama series submitted for video classification were classified 18. The period drama Taboo concerns a man waging war on those who have wronged him. In one episode, a scene of strong violence accompanied by gory images and involving the use of metal hooks and implied disembowelment was sufficiently sadistic to require the adult classification.

Gunpowder, based on the 3 Gunpowder plot in London in 1605, also contains torture scenes. A

39 18

sequel, based on the novel by E.L. James, which concerns the relationship between a wealthy businessman and a young woman. There is strong sex and nudity, along with the portrayal of erotic roleplay based on domination, submission and sado-masochistic practices, and there are also strong verbal references to sexual activity. Accordingly, the BBFC classified the film 18.

In The Handmaiden, a Korean erotic mystery crime drama, a young woman raised as a thief infiltrates the household of a rich young Japanese heiress with a view to defrauding her. There are several strong sex scenes, and some scenes of BDSM activity in which male and female characters sustain, after being whipped, weal- like injuries to their buttocks. The BBFC classified the film 18, with BBFCinsight informing viewers of ‘strong sex, sex references’. 1 Depending on the manner in which very strong language is used, who woman is stripped naked before Bhoomi, a Hindi-language drama is using the language, its frequency being crushed to death by a stone in which a young woman embarks within the work as a whole and any slab, a man is hung, drawn and on a campaign of revenge, features special contextual justification, very quartered, a man is attached to a several brutal scenes with a sadistic strong language may mean a film is device and tortured as his limbs edge, including one in which a man restricted to the 18 classification. T2 are pulled apart, and another man’s is chased and cornered before Trainspotting is a drama sequel fingernails are ripped off. These having his penis cut off. Sadism, as in which a man returns home to scenes dwell on the infliction of well as strong bloody violence, also Edinburgh 20 years after betraying pain and injury, feature strong gory features in Toofan Singh, a Punjabi- his friends. As well as scenes images, and went beyond allowances language drama, which includes a of strong sex and drug misuse, under the BBFC’s Classification strong scene of torture in which a there is also frequent very strong Guidelines for a 15 classification. policeman gouges out a man’s eye language (‘c**t’) so, accordingly, with a screwdriver. the BBFC classified the film 18 with Although torture-themed horror films BBFCinsight highlighting ‘very strong are less common than in previous There are strong images of real language, strong sex, drug misuse’. years, sadism was an aggravating killings and dead bodies in the consideration which contributed documentary City of Ghosts, in As in previous years, some older to the 18 classification of Jigsaw, which a group of citizen journalists films which had previously been cut the latest US horror film in the risk their lives to document and in order to gain an 18 classification Saw series, and in which police film Islamic State atrocities in their were submitted for re-release on investigate a series of gruesome home city. The film includes several DVD and Blu-Ray, and were now murders. There are scenes in which disturbing scenes in which groups of acceptable at 18 with previously people are forced to participate in blindfolded or hooded men are shot cut material restored. These films murderous ‘games’, with bloody in the head at close range. There is included Showgirls, The Toolbox moments including shootings and also footage showing decapitated Murders, and Visiting Hours. neck stabbings, all of which are bodies lying on a pavement, the depicted with strong gory detail, heads having been placed on The BBFC also classifies works and there is also strong injury detail. a fence. Accordingly, the BBFC for online distribution, and some Accordingly, the film was classified classified the film 18. of these presented challenging 1 Fifty Shades Darker (18) 18. issues in 2017. 13 Reasons Why is a Netflix drama series which In 2017, a number of films were 2 Showgirls (18) Strong bloody violence meant classified at 18 for their depictions of concerns a teenage boy’s attempts the BBFC classified two of the more graphic or fetish sexual activity. to discover why a female classmate year’s South Asian releases at 18. Fifty Shades Darker is a drama took her own life. Some episodes

40 R18 were classified 18 by the BBFC, for a There are strong sexual images and In 2017 there was a decrease in the suicide scene and associated strong sex references in some episodes number of explicit pornographic bloody images, and for scenes of of Hot Girls Wanted: Turned On, works submitted to the BBFC. The sexual violence. The scenes of sexual which examines sex and relationships 368 works in 2017 represent a 22% violence, in which a young woman in the age of the internet. One decrease on 2016, maintaining the is raped by a man, go beyond the episode draws attention to the issue downward trend in R18 submissions. BBFC Classification Guidelines at of abusive sex works and focuses on The proportion of R18 works subject 15 where sexual violence must be the rough and aggressive tendencies to cuts in 2017 was 15%, a decrease discreet, as they feature too many required during the production for a of 7% over the previous year. elements of stronger detail for them pornographic film, to the extent that However, the cuts made to R18 works to be permitted below the adult one of the performers is shown to be in 2017 continue to reflect the BBFC’s level. Whilst the sexual violence is uncomfortable with these demands. strict policies on material which condemned, the male rapist’s self- Accordingly, the BBFC classified this combines sexual detail with activity justificatory account of events was episode 18. which is illegal, harmful, abusive an aggravating factor so the BBFC or involves a lack of consent or the classified these episodes 18. Marvel’s The Punisher and infliction of pain or injury. Marvel’s Iron Fist are television In the fantasy drama series series based on Marvel Comics The BBFC made cuts to a number American Gods, a recently released characters, and produced for of works to remove abusive and ex-convict becomes involved in a broadcast via the internet. Both potentially harmful activity, including conflict between the gods. Some series contain some episodes which choking and gagging during deep episodes were classified 18 for the BBFC classified 18 for online throat fellatio and instances of strong bloody violence. One of the distribution as they contain scenes of oxygen being restricted during episodes contains strong sexualised strong bloody violence which dwell sexual activity. Cuts were also nudity when a man searches through on the infliction of pain and injury. made to remove abusive scenarios images on his dead wife’s phone to encouraging an interest in underage find evidence of her infidelity and sex. The BBFC continues to cut discovers photographs of an erect material in accordance with the penis. There is also brief sight of a current interpretation of the Obscene man with an erect penis in a later Publications Acts 1959 and 1964 scene. These scenes meant that (OPA), which includes, but is not this episode is more appropriately limited to, sexualised urination. placed at 18. In consultation with enforcement agencies, and in order to ensure intervention is consistent with current interpretation of the legislation, the BBFC may pass brief and isolated examples of sexualised urination so long as there are no harm concerns arising under the Video Recordings Act 1984 (VRA) and where there is no realistic prospect of successful prosecution under the OPA. Aside from OPA considerations, the BBFC does not allow at R18 penetration with objects likely to cause actual harm, or objects associated with violence. Consequently, cuts made in 2017 included the removal of potentially harmful penetration with objects which could cause physical damage. In making these decisions the BBFC continues to draw upon expert research which can be found on the BBFC’s website.

41 Video games and associated media

Since 30 July 2012, and with a few and casualties during the conflict. pauses so that the viewer/gamer exceptions, the responsibility for This all occurred in a documentary can provide their own response), classifying video games has lain with context without any graphic detail. whilst appearing in various states the Video Standards Council (VSC), However, some elements of the of undress. As with previous games applying the PEGI system. The BBFC footage contained imagery that might in the Yakuza series that have been continues to be responsible for potentially upset younger children, subject to Determination of Suitability classifying any video game content such as sight of a soldier with a examination, the BBFC considered attached to linear submissions. The dressing over one eye, a plaster on that there was a titillating intent in the VSC must send linear material, which his cheek and lines of dried blood material, both visually and verbally, may form part of a game, to the BBFC on his face. In another video, there and as such determined that it was for a determination of suitability, as is brief sight of the body of a fallen most appropriate at the 18 category. this content may affect the overall German soldier lying frozen in the PEGI gave the full game an 18 classification of a game. In 2017, snow. The BBFC considered that classification. this included add-on material for these images, depicting brief injury four video games. The BBFC is also detail, were more appropriately The second game, Yakuza Kiwami, responsible for classifying any video placed at PG than U. PEGI gave the was an HD remake of a 2005 game. games containing R18 level material, full game a 16 classification. The linear game material depicts although we have given no video the central character forming a game an R18 classification since The BBFC classified linear content relationship with a hostess. In doing 2007. for the ‘beat ‘em up’ game Tekken 7 so, the player can choose what at 15. The content featured frequent happens at their various meetings, In 2017, the BBFC advised a PG sight of violence, including sight of and whether or not they go out on classification for one submission of punches, kicks, head-butts and neck dates. The dialogue exchanges linear content attached to a game: breaks. The material also included between the two characters in these Sudden Strike 4. This is a tactical some partial breast nudity during sequences include references to game set in World War II, and the a sequence in which a female sexual activity and, in apparent material submitted to the BBFC character takes a shower. PEGI gave rewards for the player’s character comprised a collection of short video the full game a 16 classification. choosing to go out on a date with files of archive footage of various the woman, there are several live- events that took place during the The BBFC advised 18 classifications action sequences featuring women conflict (for example, D-Day and for two submissions of linear material in bikinis, lingerie or sitting in the Battle of the Bulge). The footage attached to two different video baths with soap suds masking their featured aerial shots of bombs games in the Yakuza series. The first breasts, as they pose and move in a dropped from planes, infantry and game, Yakuza 6: The Song Of Life, suggestive manner. Although there artillery action, explosions, images featured linear material consisting of was no depiction of full nudity, due of bombed-out cities and so on. The staged sex chat lines (intended as a to the titillating nature of the content narration in these clips referenced diversion from the main gameplay) the BBFC also considered this linear event such as the suicides of Hitler in which women ‘interact’ with the material most suitable at the 18 and Goebbels, and gave statistical gamer/viewer, asking questions category. PEGI gave the full game an information on the numbers of deaths about what they want (leaving 18 classification.

Unclassified works

Films, DVDs or digital media which contain unlawful or potentially harmful material will, where possible, be cut. If this is not possible because, for instance, the cuts are so extensive or complex that a viable release cannot be salvaged from the remaining material, or if the distributor refuses to make the required cuts, then a work may be refused a classification altogether. In 2017 no film or video works were refused a classification.

42 Legal issues

The BBFC must have regard for Under the Protection of Children The DVD release of the Chinese several pieces of legislation that Act 1978 (POCA), it is a criminal action drama Brotherhood of sometimes affect the classification of offence to exploit children by making Blades II: The Infernal Battlefield works. The Human Rights Act 1998 indecent photographs or pseudo- features scenes in which horses fall (HRA) requires the BBFC to consider, photographs of them. It is also an in a potentially dangerous manner among other things, the requirement offence to distribute or advertise after appearing to be tripped. A that a filmmaker’s freedom of indecent images. The BBFC will number of other video submissions expression is not unfairly infringed refuse to classify works that contain also required cuts to remove sight by its classification decisions. The indecent images of children (those of real animal cruelty that appeared Act permits such restrictions on under 18). This can often be a difficult to be orchestrated and directed that freedom of expression as are decision to make, especially since for the purposes of the film. These prescribed by law and are necessary the definition of the term ‘indecent’ include Ironmaster (a boar being in a democratic society for the is wide and open to various speared); The Mountain of the protection of health and morals or interpretations. The BBFC has sought Cannibal God (a crocodile attacking the prevention of crime and disorder. legal advice on the meaning of this other animals and a fight between a If the BBFC does intervene with a term and returns to lawyers where snake and a bird); Cannibal Ferox film or video the intervention must necessary on a case-by-case basis. (a jaguar killing a monkey and a be proportionate to the breach The BBFC also seeks proof of age man stabbing a pig and a crocodile); concerned. for younger looking performers in Navajo Joe (cockfighting and horses pornographic works. being dangerously tripped); and Although no specific issues with the Massacre in Dinosaur Valley HRA arose in 2017, its application The Canadian comedy drama Prank (cockfighting). is something that remains at the features a scene in which a family forefront of the BBFC’s thinking when watch a home video of a children’s The Criminal Justice and Immigration classifying material. dance show which is interrupted by Act 2008 is relevant to the BBFC’s a fetish pornographic film that has work. A key feature of this legislation The Video Recordings Act 1984 been recorded over it. The young is the offence of the possession (VRA) is the legislation that underpins daughter, who is clearly played by of extreme pornography. Material the supply and classification of a child actor, watches the video classified by the BBFC under the physical audio-visual works in the with her family and although the VRA is excluded from the definition United Kingdom. It is a piece of scene was likely to have been filmed of extreme pornography. In order legislation that features prominently without the pornographic images on for a work to be in breach of this in the BBFC’s deliberations. the television screen (which would legislation it must be pornographic have been added in post-production), (produced solely or principally Apart from setting out the the impression given of a child for the purpose of sexual arousal), requirement to have works classified, appearing in the same frame as a be grossly offensive, disgusting or the VRA also requires the BBFC to sex work was sufficient for cuts to be otherwise of an obscene character pay special regard to material that required under POCA legislation. and, in an explicit and realistic way, could be said to cause harm to its portray either an act which threatens potential audience. It goes on to The Coroners and Justice Act 2009 a person’s life; an act which results, or provide a list of subjects which the introduced an offence of possessing is likely to result, in serious injury to a BBFC must consider. Those subjects a ‘prohibited image of a child’. Under person’s anus, breasts or genitals; an are: criminal, violent or horrific this legislation a prohibited image act which involves sexual interference behaviour, illegal drugs and human of a child covers non-photographic with a human corpse; or a person sexual activity. pornographic images of child abuse performing an act of intercourse or which must portray any of a specific oral sex with an animal (whether The application of the Obscene range of acts. It strengthens the law dead or alive). Cartoon images are Publications Acts (OPA) of 1959 on child pornography. not caught by this Act. and 1964 tends to be limited to the BBFC’s work with pornography. If a The Cinematograph Films (Animals) work is deemed likely to be obscene Act 1937 prohibits the exhibition of under the current interpretation of a film if any scene within it has been the OPA, the BBFC is required to ‘organised or directed’ in such a intervene. A work will be considered way as to involve the cruel infliction obscene if it has a tendency to of pain or terror, or cruel goading deprave and corrupt a significant to fury of any live animal. The word proportion of the audience likely to ‘animal’ is defined as any domestic see it. In 2017 a number of works animal (tame or sufficiently tamed required cuts to remove material that to serve some purpose for the use was deemed likely to be obscene of man) or any vertebrate which is under the current interpretation of the in captivity or confinement. It is the Act and this discussion is continued BBFC’s policy to apply the Act equally in the R18 section of this report. to theatrical and home entertainment submissions.

43 Statistics

44 Statistics

45 Statistics

46 Statistics

47 Video Appeals Committee

During 2017, there were no appeals Video Appeals Committee Chair Valerie Owen OBE: Managing to the Video Appeals Committee Professor Andrew Burrows QC FBA: Director, Le Vaillant Owen. Former (VAC). Professor of the Law of England at Managing Director of London First the University of Oxford and a Fellow and Director of Jones Lang LaSalle. The VAC is an independent body of All Souls College. Barrister at Non-Executive Director of the Dover constituted under Section 4(3) of the Fountain Court Chambers, London Harbour Board, Church Buildings Video Recordings Act 1984 to hear and a part-time judge. Council and East Kent Hospitals appeals from submitting companies University Foundation NHS Trust. against BBFC decisions they consider Members stricter than warranted. Salman Momen: Former Head of Professor Samuel Stein: Consultant Interactive Media Group, IBM. Now in Child, Adolescent and Family At the end of 2017, the full Managing Director at Accenture Psychiatry. Barrister. Qualified Family membership of the VAC was as Interactive. Mediator. follows: Judy Clements: Former Director of the Independent Police Complaints Commission. Now Adjudicator for HM Revenue and Customs.

Consultative Council

The Consultative Council is the ambiguity of the sexual violence view was that the tone and impact of BBFC’s chief stakeholder body, with portrayed in the film, and noted that the work as a whole was too strong members including representatives this, in combination with the visual for a classification category lower from the film and video industry, detail portrayed in some of the than 18. Members agreed that the local authorities, other media scenes, meant that the subject matter violence was difficult to contextualise regulators, enforcement agencies and was not suitable for audiences below within the narrative and that the film parenting and family groups. It is an the age of 18. had no obvious appeal or merit for independent source of expert advice younger teenagers. and the meetings are an opportunity The Council were in universal to examine industry, legislative and agreement with the BBFC’s 18 The Council unanimously agreed media policy developments. classification of the film. with the BBFC’s 18 classification.

During 2017, the Council contributed In June, the Council viewed the film We would like to thank the members to discussions on the depiction of The Mummy, in which the evil spirit of the Consultative Council for sexual violence across the BBFC of a betrayed Egyptian Princess is their continued contributions to categories, the Digital Economy Act released into the world after her discussions on BBFC classification and the research process for the next tomb is unearthed. It contained policy and associated matters. In set of BBFC Guidelines, which are sustained threat, horror and brief 2017, we welcomed Alderman Alan due for publication in early 2019. strong violence, and was classified McDowell to the Consultative Council. 15 as a result. Council members We would like to thank Councillor In February, the Council discussed discussed the apparent appeal of Manjinder Shergill and Melissa Dring the film Elle, a psychological thriller the film at the 12A level, while noting for their valued work as part of the in which a successful business that the violence and intensity of Council. Both stepped down in 2017. woman tries to establish the identity some of the sequences, such as We would also like to pay tribute of the man who raped her. It was when the titular character consumes to Councillor Mervyn Jones, of the classified 18 for sexual violence. her victims in a churchyard, were Northern Ireland Local Government Council members discussed the not suitable below the 15 category Association, for his valued input to according to BBFC Guidelines. the discussions of the Consultative However, some members considered Council. He sadly passed away in the tone to be suitably light-hearted Summer 2017. overall to make the film suitable at 12A. Finally, we would like to note There was general agreement among that in October 2017 we began the Council with the 15 classification. a consultation with Consultative Council members on the future 1 Elle (18) The Council viewed the film Mother! role of the Council. In particular, in October. It was classified 18 for whether the Council best met both 2 The Mummy strong violence, which included its stated purpose and the needs (18) depiction of the shooting or stabbing of its members in terms of their 1 of victims. Council members relationship with the BBFC. These discussed the film, with several the discussions were ongoing into 2018.

48 Consultative Council

Membership of the Council in Patrick Down Detective Superintendent 2017 Criminal Law and Licensing Division, Wendy Morgan Scottish Government MBA Metropolitan Police Councillor Faye Abbott LGA Culture, Tourism and Sport Melissa Dring Jo Poots Board Representative Director of Policy, Chartered Trading Head of Operations (Complaints and Standards Institute Investigations), Advertising Standards Reg Bailey CBE Authority Independent Reviewer of the Alison Edwards Commercialisation and Sexualisation A leading expert in legal issues Ian Rice of Childhood relating to the provision of film Director General, Video Standards and DVD works under the Video Council Liz Bales Recordings Act Chief Executive, British Association Councillor Manjinder Shergill for Screen Entertainment Susie Hargreaves Convention of Scottish Local Chief Executive, Internet Watch Authorities Mark Batey Foundation Chief Executive, Film Distributors’ There is currently no representative Association Councillor Mervyn Jones from the Welsh Local Government Northern Ireland Local Government Association on the Council. Kim Bayley Association Chief Executive, Entertainment New Members of the Council Retailers Association Hamish MacLeod Chairman, Mobile UK Alderman Alan McDowell Leanne Buckle Ards and North Down Borough Senior Editorial Adviser, BBC Trust Alison Marsden Council Director, Standards and Audience Phil Clapp Protection, Ofcom Chief Executive, UK Cinema Association

49 Advisory Panel on Children’s Viewing

The Advisory Panel on Children’s film’s defining issues were more However, some Panel members Viewing (APCV) benefits the work of appropriate at the 12A category than considered some of the sex the BBFC by providing a wide range for younger audiences, despite what references to be more appropriate at of skills and expertise connected with they saw as the sensitive handling of 12A than PG. child welfare and development. Its a challenging subject. members feed into the development Overall, Panel members were in of BBFC policy and, in turn, Panel members were in full general agreement with the film’s PG classification. agreement with the BBFC’s 12A certificate. classification of the film. During 2017, the APCV brought their In November, the APCV viewed To collective expertise to discussions on In July, the Panel viewed My Life As The Bone, a Netflix Original film the issue of bereavement in children’s A Courgette, an animated drama classified 15 for its anorexia theme, films, the Digital Economy Act and about a boy who moves to a care suicide and self-harm references, and sexualisation in anime works. home after his mother dies. It was strong language. The Panel members classified PG for mild sex references discussed various issues presented In March, the Panel discussed the and references to traumatic in the film, such as its representation film A Monster Calls, a fantasy childhood experiences. The Panel of eating disorders and mental illness, drama about a bereaved boy who considered that the film depicted and the attempts of characters in the encounters a monster in the form many types of childhood trauma, film to help those suffering from such of a tree that helps him through his and in doing so presented them in a conditions. grieving process. It was classified manner that was both sensitive and 12A for moderate threat and scenes appropriate for the likely audience The Panel agreed with the BBFC’s 15 of emotional distress. Those present for a PG film (i.e. around eight years classification. discussed various classification old). Members also commented on considerations, including the the film’s highlighting of universal The membership of the Advisory depiction of the boy’s stages of grief, issues such as interpersonal Panel on Children’s Viewing was some scenes of bullying and the relationships and the importance of unaltered in 2017 in comparison to likely audience for the film. Members positive relationships, between both 2016. of the Panel considered that the children and children and adults.

Membership of the Panel in 2017

Margo Boye-Anawomah Annie Mullins OBE Professor Ann Phoenix Childcare barrister and family judge Co-Founder, Trust & Safety Group Co-Director, The Thomas Coram Research Unit John Carr OBE The Very Revd Professor Expert on child protection in relation Martyn Percy Honor Rhodes OBE to new media Dean of Christ Church, Oxford Director of Strategic Development, Tavistock Relationships Naomi Eisenstadt Senior Research Fellow, Oxford University Department of Education

Joe Godwin Director, BBC Academy & BBC Midlands

Professor Charlie Lewis Professor of Family and Developmental Psychology, Lancaster University

Andrew Mackereth Principal, The Parker Academy in Daventry

1 Goodbye 1 Christopher Robin (PG)

50 Business review 2017

The principal officers of Council of Management Members the British Board of Film Merion Alcock – appointed 5 April Classification in 2017 Chair 2017 Maggie Carver Sonita Alleyne President Alison Hastings Patrick Swaffer Finance Committee Chair Steve Jaggs – resigned 5 April 2017 Jon Teckman Graham Lee – resigned 5 April 2017 Vice Presidents Gerard Lemos Alison Hastings Remuneration Committee Chair Lesley Mackenzie – appointed 5 Gerard Lemos Sonita Alleyne April 2017

Chief Executive Officer Auditors David Austin Grant Thornton UK LLP Grant Thornton House Chief Operating Officer Melton Street Dave Barrett London NW1 2EP

Policy Director Bankers David Miles Barclays Bank PLC 27 Soho Square Finance Director London Siobhan Smedley-Wild W1D 3QR

Compliance Managers Solicitors Craig Lapper Goodman Derrick LLP Ian Machiah 10 St Bride Street London Head of the DEA EC4 4AD (Digital Economy Act) Murray Perkins Bird & Bird LLP 12 New Fetter Lane Head of Business Services London Tom Cairns EC4A 1JP

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

51 Strategic report for the year ended 31 December 2017

The Directors present their strategic Online submissions rose by 22% but Interest rate risk report with the financial statements the current rate of increase is not The company has no interest rate for the year ended 31 December expected to offset further declines exposure as all long-term debt is at a 2017. in DVD income and the cost base fixed rate. of the Company is being managed Principal activities accordingly. Liquidity risk The company, which is limited by The company has significant net cash guarantee, is responsible for the Film submissions remain steady and balances as at the balance sheet classification of cinema films on it is anticipated that the current level date. behalf of local authorities and, in of submissions will continue to be accordance with the terms of the maintained. Foreign currency risk Video Recordings Act 1984, for the The company’s risk to foreign classification of video works. It also Turnaround times for DVD home exchange transactions does not classifies under voluntary self- entertainment works to be processed arise as all the company’s financial regulatory services, video content were maintained at 7.5 days (2016: instruments are denominated in distributed over the internet and 7.4 days) beating the BBFC’s eight- sterling. commercial and internet content day business target. distributed via the UK’s mobile Borrowing facilities networks. In addition, in 2018 the The BBFC works in partnership As at 31 December 2017, the Government designated the BBFC as with different industry sectors (for company had undrawn committed the Age-Verification Regulator under example, VoD platforms, Mobile borrowing facilities of £26,877 (2016: the Digital Economy Act 2017 (DEA). Network Operators, broadcasters) £36,000). Its revenue is derived principally to develop consistent, transparent, from fees charged to distributors for best-practice self-regulatory services This report was approved by the the classification of their product. which apply trusted BBFC standards board and signed on its behalf. Funding for the BBFC’s DEA work for the voluntary space. Although comes from the Government. current levels of income for such services are low at 12% (2016:10%) David Austin Review of the business of turnover, this represents an Chief Executive Officer The BBFC continues to focus on increase of 24% on the previous year providing trusted classification for and the BBFC expects demand for 20 April 2018 film and video and online services. self-regulation services to rise.

The results for the last financial year The Company has been saving are shown in the annexed financial over a number of years for an statements. The key financial anticipated major investment in the indicators used by management to IT infrastructure. Over 2018 and 2019 monitor performance and to assess we will be investing substantially in risks, continue to be sales volumes, the BBFC’s IT systems and workflow turnaround times, operating costs infrastructure. Consequently, we and the level of cash generated from will be able to provide a more operations. The BBFC continues to cost-efficient and speedy service, monitor and review its operational including to those operating in a self- procedures with the aim of providing regulatory landscape. the best and most cost-effective services to its customers. Financial instruments The company’s financial Turnover for the year has remained instruments at the balance sheet steady with a 2% rise to £5.6m date compromised of bank loans, (2016: £5.5m). There has been a investments, cash and liquid 16% decline in income from DVD resources. The company has various classification, which was expected. other financial instruments such as This decline as seen in the previous trade debtors and trade creditors that ten years is predicted to continue, arise directly from its operations. as the demand for online product increases.

52 Report of the Directors for the year ended 31 December 2017

Results Directors’ responsibilities The Directors are responsible for The profit for the year, after taxation, statement the maintenance and integrity of the amounted to £1,179,948 (2016: The Directors are responsible for corporate and financial information £1,173,270). preparing the Strategic Report, the included on the Company’s website. Directors’ Report and the financial Legislation in the United Kingdom Directors statements in accordance with governing the preparation and The Directors of the company are applicable law and regulations. dissemination of financial statements the members of the Council of may differ from legislation in other Management together with the Company law requires the Directors jurisdictions. President, Vice Presidents and the to prepare financial statements Secretary. for each financial year. Under that Environment, Health and Safety law the Directors have elected to The company is firmly committed The Directors who served during the prepare the financial statements in to managing its activities so as to year were: accordance with United Kingdom provide the highest level of protection Generally Accepted Accounting to the environment and to safeguard M Carver Practice (United Kingdom Accounting the health and safety of its employees, Chair Standards and applicable law, customers and the community. including FRS 102 ‘The Financial J S P Teckman Reporting Standard applicable in the Disclosure of information to Chair of the Finance Committee UK and Republic of Ireland’). Under auditor company law the Directors must not The Directors confirm that: S Alleyne approve the financial statements Chair of the Remuneration Committee unless they are satisfied that they • so far as each director is give a true and fair view of the state aware, there is no relevant M Alcock of affairs and surplus of the Company audit information of which the (Appointed 5 April 2017) for that period. In preparing these Company’s auditor is unaware, financial statements, the Directors are and D J R Austin required to: • the Directors have taken all the Chief Executive Officer steps that they ought to have taken • select suitable accounting policies as Directors in order to make A Hastings and then apply them consistently; themselves aware of any relevant Vice President • make judgements and accounting audit information and to establish estimates that are reasonable and that the Company’s auditor is S R Jaggs prudent; aware of that information. (Resigned 5 April 2017) • prepare the financial statements on the going concern basis unless Auditor K G Lee it is inappropriate to presume The auditor, Grant Thornton UK LLP, (Resigned 5 April 2017) that the Company will continue in will be proposed for reappointment business. in accordance with section 485 of the G Lemos Companies Act 2006. Vice President The Directors are responsible for keeping adequate accounting This report was approved by the L A Mackenzie records that are sufficient to board and signed on its behalf. (Appointed 5 April 2017) show and explain the Company’s transactions and disclose with P L Swaffer reasonable accuracy at any time the M Carver President financial position of the Company Director (Reappointed 17 October 2017) and enable them to ensure that the financial statements comply with the 20 April 2018 The Council of Management would Companies Act 2006. They are also like to record their thanks to Graham responsible for safeguarding the Lee and Steve Jaggs, who retired in assets of the Company and hence 2017, for their long and dedicated for taking reasonable steps for the service as Directors and Chairman prevention and detection of fraud and and Vice-Chairman respectively. other irregularities.

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

Opinion Who we are reporting to with the financial statements or We have audited the financial This report is made solely to the our knowledge obtained in the statements of the British Board of Film Company’s members, as a body, audit or otherwise appears to be Classification for the year ended 31 in accordance with Chapter 3 materially misstated. If we identify December 2017, which comprise the of Part 16 of the Companies Act such material inconsistencies or Statement of Comprehensive Income, 2006. Our audit work has been apparent material misstatements, we the Statement of Financial Position, undertaken so that we might state are required to determine whether the Statement of Cash Flows, the to the Company’s members those there is a material misstatement in Statement of Changes in Equity and matters we are required to state to the financial statements or a material Notes to the Financial Statements, them in an Auditor’s Report and for misstatement of the other information. including a summary of significant no other purpose. To the fullest extent If, based on the work we have accounting policies. The financial permitted by law, we do not accept performed, we conclude that there is reporting framework that has been or assume responsibility to anyone a material misstatement of this other applied in their preparation is other than the Company and the information, we are required to report applicable law and United Kingdom Company’s members, as a body, for that fact. Accounting Standards, including our audit work, for this report, or for Financial Reporting Standard 102 the opinions we have formed. We have nothing to report in this ‘The Financial Reporting Standard regard. applicable in the UK and Republic of Conclusions relating to going Ireland’ (United Kingdom Generally concern Opinions on other matters Accepted Accounting Practice). We have nothing to report in respect prescribed by the Companies Act of the following matters in relation 2006 In our opinion the financial to which the ISAs (UK) require us to In our opinion, based on the work statements: report to you where: undertaken in the course of the audit:

• give a true and fair view of the • the Directors’ use of the going • the information given in the state of the Company’s affairs as concern basis of accounting in strategic report and the Directors’ at 31 December 2017 and of its the preparation of the financial report for the financial year for surplus for the year then ended; statements is not appropriate; or which the financial statements are • have been properly prepared in • the Directors have not disclosed prepared is consistent with the accordance with United Kingdom in the financial statements any financial statements; and Generally Accepted Accounting identified material uncertainties • the strategic report and the Practice; and that may cast significant doubt Directors’ report have been • have been prepared in about the Company’s ability prepared in accordance with accordance with the requirements to continue to adopt the going applicable legal requirements. of the Companies Act 2006. concern basis of accounting for a period of at least twelve months Matter on which we are required Basis for opinion from the date when the financial to report by the Companies Act We conducted our audit in statements are authorised for 2006 accordance with International issue. In the light of the knowledge and Standards on Auditing (UK) (ISAs understanding of the Company (UK)) and applicable law. Our Other information and its environment obtained in responsibilities under those The Directors are responsible the course of the audit, we have not standards are further described for the other information. The identified material misstatements in in the auditors’ responsibilities for other information comprises the the strategic report or the Directors’ the audit of the financial statements information included in the Annual report. section of our report. We are Report, other than the financial independent of the Company statements and our Auditor’s Report Matters on which we are required in accordance with the ethical thereon. Our opinion on the financial to report by exception requirements that are relevant to statements does not cover the other We have nothing to report in respect our audit of the financial statements information and, except to the extent of the following matters in relation to in the United Kingdom, including otherwise explicitly stated in our which the Companies Act 2006 the Financial Reporting Council’s report, we do not express any form of requires us to report to you if, in our Ethical Standard, and we have fulfilled assurance conclusion thereon. opinion: our other ethical responsibilities in accordance with these requirements. In connection with our audit • adequate accounting records We believe that the audit evidence of the financial statements, our have not been kept, or returns we have obtained is sufficient and responsibility is to read the adequate for our audit have not appropriate to provide a basis for our other information and, in doing been received from branches not opinion. so, consider whether the other visited by us; or information is materially inconsistent

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

• the financial statements are not in Auditors’ responsibilities for the agreement with the accounting audit of the financial statements records and returns; or Our objectives are to obtain • certain disclosures of Directors’ reasonable assurance about whether remuneration specified by law are the financial statements as a whole not made; or are free from material misstatement, • we have not received all the whether due to fraud or error, and to information and explanations we issue an auditor’s report that includes require for our audit. our opinion. Reasonable assurance is a high level of assurance, but is not a Responsibilities of Directors for guarantee that an audit conducted in the financial statements accordance with ISAs (UK) will always As explained more fully in the detect a material misstatement when Directors’ responsibilities statement it exists. Misstatements can arise from on page 3, the Directors are fraud or error and are considered responsible for the preparation of the material if, individually or in the financial statements and for being aggregate, they could reasonably be satisfied that they give a true and fair expected to influence the economic view, and for such internal control as decisions of users taken on the basis the Directors determine is necessary of these financial statements. to enable the preparation of financial statements that are free from material A further description of our misstatement, whether due to fraud responsibilities for the audit of or error. the financial statements is located on the Financial Reporting In preparing the financial statements, Council’s website at: www.frc. the Directors are responsible for org.uk/auditorsresponsibilities. assessing the Company’s ability The description forms part of our to continue as a going concern, auditor’s report. disclosing, as applicable, matters related to going concern and using the going concern basis of Sergio Cardoso accounting unless the Directors either (Senior statutory auditor) intend to liquidate the Company or to for and on behalf of cease operations, or have no realistic Grant Thornton UK LLP alternative but to do so. Chartered Accountants Statutory Auditor London

20 April 2018

55 Statement of Comprehensive Income for the year ended 31 December 2017

Note 2017 2016

£ £

Turnover 4 5,554,457 5,456,941

Operating costs (4,817,733) (4,924,810)

Gross profit 736,724 532,131

Other operating income 5 150,113 140,359

Fair value loss on investment property - (49,302)

Operating profit 10 886,837 623,188

Gain on financial assets at fair value 420,477 575,454

Interest receivable and similar income 6 222,669 209,324

Interest payable and charges 7 (14,750) (25,450)

Profit on ordinary activities before taxation 1,515,233 1,382,516

Taxation on profit on ordinary activities 11 (335,285) (209,246)

Profit for the financial year 1,179,948 1,173,270

Total comprehensive income for the year 1,179,948 1,173,270

There were no recognised gains and losses for 2017 or 2016 other than those included in the Statement of Comprehensive Income.

The notes on pages 60 to 71 form part of these financial statements.

56 Statement of Financial Position as at 31 December 2017

Note 2017 2016

£ £ Fixed assets

Tangible assets 12 3,025,695 3,111,842

Investments 14 7,358,057 6,984,340

Investment property 13 3,540,030 3,540,030

13,923,782 13,636,212

Current assets

Debtors: amounts falling due within one year 15 863,956 542,578

Cash at bank and in hand 16 2,659,390 2,358,303

3,523,346 2,900,881

Creditors: amounts falling due within one year 17 (1,340,338) (1,546,464)

Net current assets 2,183,008 1,354,417

Total assets less current liabilities 16,106,790 14,990,629

Creditors: amounts falling due after more than one year 18 - (112,970)

Provisions for liabilities

Deferred tax (317,971) (268,788)

(317,971) (268,788)

Net assets 15,788,819 14,608,871

Capital and reserves

Profit and loss account 21 15,788,819 14,608,871

15,788,819 14,608,871

The financial statements were approved and authorised for issue by the board and were signed on its behalf on 20 April 2018.

M Carver - Director

J S P Teckman - Director

The notes on pages 60 to 71 form part of these financial statements.

57 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

Statement of Changes in Equity for the year ended 31 December 2016

Profit and loss account Total equity £ £

At 1 January 2016 13,435,601 13,435,601

Comprehensive income for the year

Surplus for the year 1,173,270 1,173,270

Total comprehensive income for the year 1,173,270 1,173,270

At 31 December 2016 14,608,871 14,608,871

The notes on pages 60 to 71 form part of these financial statements.

58 Statement of Cash Flows for the year ended 31 December 2017

2017 2016

£ £

Cash flows from operating activities Profit for the financial year after tax 1,179,948 1,173,270

Adjustments for:

Depreciation of tangible assets 133,128 161,257 Interest paid 14,750 29,257 Interest received (222,669) (209,324) Taxation charge 335,285 209,246 (Increase)/decrease in debtors (339,660) 206,976 (Decrease) in creditors (155,305) (240,221) Corporation tax (paid) (147,613) (56,082) Gain on assets (421,007) (575,454)

Net cash generated from operating activities 376,857 698,925

Cash flows from investing activities Purchase of tangible fixed assets (46,982) (276,187) Sale of tangible fixed assets 530 (36,650) Purchase of listed investments (3,475,826) (300,000) Sale of listed investments 3,522,578 - Interest received 17,949 209,324 Dividends received 204,720 203,691

Net cash from investing activities 222,969 (199,822)

Cash flows from financing activities Repayment of loans (283,989) (268,255) Interest paid (14,750) (29,257)

Net cash used in financing activities (298,739) (297,512)

Net increase in cash and cash equivalents 301,087 201,591

Cash and cash equivalents at beginning of year 2,358,303 2,156,712

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

Cash and cash equivalents at the end of year comprise: Cash at bank and in hand 2,659,390 2,358,303

2,659,390 2,358,303 The notes on pages 60 to 71 form part of these financial statements.

59 Notes to the Financial Statements for the year ended 31 December 2017

1. General information

British Board of Film Classification is a company whose liability is limited by guarantee, which is incorporated in England and Wales. Its registered head office is located at 3 Soho Square, London, W1D 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.

60 Notes to the Financial Statements for the year ended 31 December 2017

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 instruments 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 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.

61 Notes to the Financial Statements for the year ended 31 December 2017

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.

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

Management consider the only key judgement to be in relation to the market value of property. Management consider bad debt provision to not be necessary. See note 13.

62 Notes to the Financial Statements for the year ended 31 December 2017

2017 2016

£ £

4. Turnover

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

Classfication income 4,967,158 5,456,941

DEA income 587,299 -

5,554,457 5,456,941

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.

2017 2016

£ £

5. Other operating income

Income from education seminars 3,931 4,250

Rents receivable and service charge income 145,652 136,109

Other 530 -

150,113 140,359

6. Interest receivable

Other interest and similar income 222,669 209,324

7 . Interest payable and similar charges

Interest on loan repayable 14,750 25,450

63 Notes to the Financial Statements for the year ended 31 December 2017

2017 2016

£ £

8. Employees

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

Wages and salaries (including severance pay) 2,468,997 3,027,732

Social security costs 259,845 287,093

Cost of defined contribution scheme 164,444 190,888

2,893,286 3,505,713

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

2017 2016

No. No.

Non-executive directors 8 8

Management 4 5

Administration 12 8

Operations 27 31

51 52

2017 2016

£ £

9. Directors’ remuneration

Directors’ emoluments 336,947 335,092

Company contributions to defined contribution pension schemes 28,094 40,893

365,041 375,985

During the year retirement benefits were accruing to 4 Directors (2016: 4) in respect of defined contribution pension schemes.

The highest paid Directors received remuneration of £171,565 (2016: £116,405).

The value of the company’s contributions paid to a defined contribution pension scheme in respect of the highest paid Directors amounted to £17,073 (2016: £Nil).

Details of the highest paid Director in 2017 and 2016 relate to separate individuals. The awards have accrued over different periods of time and are not directly comparable.

64 Notes to the Financial Statements for the year ended 31 December 2017

2017 2016

£ £

10. Operating profit

The operating surplus is stated after charging:

Directors’ remuneration 365,041 375,985

Depreciation of tangible fixed assets 128,016 161,256

Audit remuneration - audit 16,550 16,250

Audit remuneration - non-audit 25,100 17,200

2017 2016

£ £

11. Taxation

Corporation tax

Current tax on profits for the year 267,822 147,613

Adjustments in respect of previous periods - (12,809)

Total current tax 267,822 134,804

Deferred tax

Origination and reversal of timing differences 67,463 82,412

Adjustments in respect of prior periods - (7,970)

Total deferred tax 67,463 74,442

Taxation on surplus on ordinary activities 335,285 209,246

65 Notes to the Financial Statements for the year ended 31 December 2017

11. Taxation (continued)

Factors affecting tax charge for the year

The tax assessed for the year is higher than (2016: lower than) the standard rate of corporation tax in the UK of 19.25% (2016: 20%). The differences are explained below:

2017 2016

£ £

Profit on ordinary activities before tax 1,515,233 1,382,516

Profit on ordinary activities multiplied by standard rate of corporation tax in the UK of 19.25% (2016: 20%) 291,630 276,503 Effects of: Expenses not deductible for tax purposes 5,534 8,321

Depreciation on ineligible assets 21,742 28,868

Marginal relief (8,915) -

Adjustments to tax charge in respect of previous periods (72,466) (20,779)

Investment gains/losses not taxable 55,638 (19,590)

Other timing differences 70,602 (13,201)

Non-taxable income (28,480) (28,267)

Differences in tax rates - (22,609)

Total tax charge for the year 335,285 209,246

66 Notes to the Financial Statements for the year ended 31 December 2017

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

£ £ £ £ £

Cost or valuation At 1 January 2017 3,137,264 76,729 241,151 2,434,898 5,890,042 Additions - 42,691 - 5,106 47,797 Disposals - - (815) (1,699,500) (1,700,315)

At 31 December 2017 3,137,264 119,420 240,336 740,504 4,237,524

Depreciation

At 1 January 2017 343,007 69,767 43,729 2,321,697 2,778,200

Charge for the year on 25,098 31,561 47,905 28,565 133,129 owned assets Disposals - (17,196) - (1,682,304) (1,699,500)

At 31 December 2017 368,105 84,132 91,634 667,958 1,211,829

Net book value

At 31 December 2017 2,769,159 35,288 148,702 72,546 3,025,695

At 31 December 2016 2,794,257 6,962 197,422 113,201 3,111,842

During the year the Company wrote off its Digital Archive Equipment which had a cost of £1,698,164 (2016: £1,698,164), and a net book value of £Nil (2016: £Nil) which had reached the end of its useful life.

67 Notes to the Financial Statements for the year ended 31 December 2017

Long term 13. Investment property leasehold investment property £ Valuation

At 1 January 2017 3,540,030

At 31 December 2017 3,540,030

The 2017 valuations were made by Reid Rose Gregory Limited, on an open market value for existing use basis.

14. Fixed asset investments Listed investments

Cost or valuation

At 1 January 2017 6,984,341

Additions 3,475,826

Disposals (3,508,879)

Revaluations 406,769

At 31 December 2017 7,358,057

Net book value

At 31 December 2017 7,358,057

At 31 December 2016 6,984,341

2017 2016

£ £ 15. Debtors

Trade debtors 347,833 310,057

Other debtors 19,985 74,126

Prepayments and accrued income 451,448 95,422

Deferred taxation 44,690 62,970

863,956 542,575

68 Notes to the Financial Statements for the year ended 31 December 2017

2017 2016

£ £

16. Cash and cash equivalents

Cash at bank and in hand 2,659,390 2,358,303

2017 2016

£ £

17. Creditors: Amounts falling due within one year

Bank loans 105,174 276,193

Trade creditors 77,878 54,320

Corporation tax 267,822 147,613

Other taxation and social security 133,649 213,933

Other creditors 9,255 20,530

Accruals and deferred income 746,560 833,875

1,340,338 1,546,464

2017 2016

£ £

18. Creditors: Amounts falling due after more than one year

Bank loans - 112,970

69 Notes to the Financial Statements for the year ended 31 December 2017

2017 2016

£ £ 19. Bank loans

Analysis of the maturity of loans is given below:

Amounts falling due within one year

Bank loans 105,174 276,193

105,174 276,193

Amounts falling due 1-2 years

Bank loans - 112,970

- 112,970

2017 2016

£ £

20. Deferred taxation

At beginning of year (205,818) (131,376)

Charged to the profit or loss (67,463) (74,442)

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

The provision for deferred taxation is made up as follows:

Provisions b/fwd (205,818) (131,376)

Prior year deferred tax adjustment - 7,970

Current year charge at 17% (PY 17 %) (67,463) (82,412)

(273,281) (205,818)

Comprising:

Asset 44,690 62,970

Liability (317,971) (268,788)

(273,281) (205,818)

70 Notes to the Financial Statements for the year ended 31 December 2017

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 2017 (2016: £Nil), however there are plans in place to update the software system.

23. Pension commitments

The company operates a defined contribution scheme to provide retirement benefits for staff. The total pension charge for the year was £164,444 (2016: £190,888). There are no balances outstanding in relation to pensions at year end.

24. Commitments under operating leases

At 31 December 2017 the Company had future minimum lease payments under non-cancellable operating leases as follows:

2017 2016

£ £ Operating leases which expire:

Property

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 37,500 37,500

225,000 225,000

Equipment

Not later than 1 year 4,048 4,277

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

8,659 4,277

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 (2016: £Nil).

71 Photographic credits

The BBFC would like to give National Theatre Trafalgar Releasing Ltd special thanks to all the distributors Hedda Gabler Elle © Trafalgar Releasing Ltd. supplying images to the BBFC Annual Ruth Wilson and Rafe Spall in Hedda Report & Accounts 2017. Gabler © Jan Versweyveld. Universal Pictures UK 20th Century Fox Film Co Ltd Cat on a Hot Tin Roof Atomic Blonde © 2017 Universal Hayley Squires (Mae) - Cat on a Hot Studios. All Rights Reserved. Diary of a Wimpy Kid: The Long Tin Roof © Johan Persson. Haul © 2018 Twentieth Century Fox Darkest Hour © 2017 Universal Home Entertainment LLC. All Rights Studios. All Rights Reserved. Reserved. Paramount Pictures Ltd Despicable Me 3 © 2017 Universal Goodbye Christopher Robin © Baywatch © 2018 Paramount Studios. All Rights Reserved. 2018 Twentieth Century Fox Home Pictures. All Rights Reserved on all Entertainment LLC. All Rights images. Fast & Furious 8 © 2017 Universal Studios. All Rights Reserved. Reserved. Mother! © 2018 Paramount Pictures. © 2017 Kingsman: The Golden Circle All Rights Reserved on all images. Fifty Shades Darker © 2018 Twentieth Century Fox Universal Studios. All Rights Ghost in the Shell © 2018 Reserved. Home Entertainment LLC. All Rights Paramount Pictures. All Rights Reserved. Reserved on all images. Get Out © 2017 Universal Studios. All Rights Reserved. Logan © 2018 Twentieth Century Fox Padmaavat © 2017 Paramount Home Entertainment LLC. All Rights Pictures. All Rights Reserved on all The Mummy © 2017 Universal Reserved. images. Studios. All Rights Reserved. My Cousin Rachel © 2018 Victoria and Abdul © 2017 Twentieth Century Fox Home Pathe Productions Ltd Universal Studios. All Rights Entertainment LLC. All Rights Reserved. Reserved. Showgirls © Pathe Productions Limited. War for the Planet of the Apes © 2018 Twentieth Century Fox Walt Disney Studios Motion Home Entertainment LLC. All Rights Science Museum Group Pictures (UK) WDSMP Enterprises Reserved. Coco © 2017 Disney/Pixar. Dream Big: Engineering Our Star Wars: The Last Jedi © 2017 © MacGillivray Freeman Films. Altitude Film Distribution World TM Lucasfilm Ltd. Moonlight © Altitude Film Distribution. Sony DADC/Columbia Pictures Warner Brothers Entertainment The Emoji Movie © 2017 Sony Pictures Animation Inc. All Rights UK Ltd BFI Films Reserved. Dunkirk © 2018 Warner Bros. Ent. Hotel Salvation © Courtesy of BFI All Rights Reserved. Distribution. Jumanji: Welcome to the Jungle © 2017 Columbia Pictures Industries, Big Little Lies © 2018 Home Box Inc. All Rights Reserved. Office, Inc. All Rights Reserved. Entertainment T2 Trainspotting © 2017 TriStar John Wick: Chapter 2 © 2018 The Space Between Us © 2015 STX Pictures, Inc. All Rights Reserved. Artwork & Supplementary Materials Productions, LLC. ™ & © 2018 Summit Entertainment, LLC. All Rights Reserved. Spirit Entertainment Eureka Entertainment Ltd © 2018 Warner Gunpowder © Spirit Entertainment Kong: Skull Island Suntan © Eureka Entertainment Ltd. Ltd. Bros. Entertainment Inc. All Rights Reserved. © 2018 Lionsgate UK Ltd Studio Canal The Lego Batman Movie WBEI & DC Comics © 2017 The Trespass Against Us Lionsgate Paddington 2 © Courtesy of LEGO Group. - © BFI, Channel Four Television STUDIOCANAL. Corporation and Trespass Against Us Limited 2015. Taboo © Courtesy of Cover design: All designs STUDIOCANAL. © Hanna Benjamin www.hannabenjamin.com Moonlake Entertainment Thunderbird Releasing Ltd The Green Hell © by Moonlake Design and production: Entertainment Rights Ltd. A Man Called Ove © Courtesy of Thunderbird Releasing. All design and production © GNB Communications A Quiet Passion © Courtesy of www.gnbcommunications.com Thunderbird Releasing.

72 Age Ratings You Trust

BRITISH BOARD OF FILM CLASSIFICATION ANNUAL REPORT AND ACCOUNTS 2017 British Board of Film Classification Annual Report and Accounts 2017

www.bbfc.co.uk www.cbbfc.co.uk

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