2015/2016 ANNUAL REVIEW

1 OUR MISSION & VA LUES

The BFI serves a public role which Film Forever is our strategic covers the cultural, creative and plan for 2012–2017, which covers economic aspects of film in the UK. all BFI activity, and focuses on three priority areas: Founded in 1933, the BFI is a registered charity governed by Royal Charter. – Expanding education and learning Under the Royal Charter, the BFI has and boosting audience choice; five objectives: – Supporting the future success of British film; – To encourage the development of – Unlocking our film and television the arts of film, television and the heritage. moving image throughout the UK; – To promote their use as a record of contemporary life and manners; In carrying out our duties, we undertake to: – To promote education about film, television and the moving image – Consider the views of the industry, generally, and their impact on society; our audiences and our partners – To promote access to and appreciation – Be efficient, effective and accessible of the widest possible range of British and world cinema; – Be honest, open and accountable for our actions – To establish, care for and develop collections reflecting the moving – Provide clear and appropriate image history and heritage of the UK. information, guidance and feedback – Share and learn best practice in order to continually improve the services The BFI is the distributor of National on offer. Lottery funds for film.

2 3 CONTENTS CINEMAS & EVENTS ON THE PAGE 18 INTERNATIONAL STAGE CHAIR & CHIEF EXECUTIVE’S REPORT ENGAGING WITH THE PAGE 38 PAGE 4 CONTEMPORARY PAGE 20 UNLOCKING OUR FILM HERITAGE FOR EXPANDING EVERYONE TO ENJOY EDUCATION BFI AND BOOSTING FILM FESTIVAL PAGE 42 AUDIENCE CHOICE IN PARTNERSHIP WITH PAGE 6 AMERICAN EXPRESS® DIGITISATION PAGE 22 PAGE 44

BFI FLARE: LONDON KEY BFI LGBT FILM FESTIVAL RESTORATIONS PAGE 24 & REMASTERED FILMS PAGE 46 UK WIDE ACTIVITIES PAGE 26 PUBLIC POLICY, LEADERSHIP NURTURING YOUNG & ADVOCACY TALENT AND SKILLS SUPPORTING THE PAGE 48 PAGE 10 FUTURE SUCCESS OF BRITISH FILM PAGE 34 FUNDRAISING & GROWING AUDIENCES PHILANTHROPHY & CHOICE UK WIDE PAGE 50 PAGE 12 DIVERSITY PAGE 32 BFI INCOME BFI DIGITAL & EXPENDITURE PAGE 14 SUPPORTING FUTURE FILMMAKING PAGE 54 PAGE 34 THE BFI CULTURAL PROGRAMME 4 PAGE 16 5 CHAIR & CHIEF Meanwhile, our education partner, Into Film, distinctive British voices, is demonstrably In a continuing challenging financial ready to launch the new strategy in celebrated at reaching over 9,000 schools working. Alumni from the first year environment we are particularly pleased the autumn. with active film clubs. A particular note are already finding their way into the to see growth in earned income from all EXECUTIVE’S of gratitude should be made here for the Industry, while others are undertaking our charitable activities. We set ourselves Finally after eight years our Chair, 9,000 teacher volunteers leading these further film training, including a lucky tough targets and as well as growing our Greg Dyke, came to the end of his second great initiatives. few who have been selected for places at existing activities, we have created new term in February 2016. Greg has had the National Film & Television School. income sources, such as an international a profound influence upon modern REPORT Our partners across the Film Audience For emerging filmmakers, BFI NET.WORK learning course in modern film archive television and popular culture and he The 59th BFI London Film Festival opened Network – nine leading not-for-profit film partners with Creative England, Creative care which attracted paying participants has made a massive impact on so many and closed with two standout British films. theatres around the UK working with their Scotland, Northern Ireland Screen from countries as far afield as China, other sectors from film to journalism Suffragette, proudly supported by the network of over a 1,000 partners – joined and Ffilm Cymru Wales on a range of Russia and Japan. We are also seeing and sport. His contribution to the BFI BFI and FILM4, was our opening gala forces with the BFI to bring an astonishing initiatives to support talented individuals individuals, corporate partners and cannot be overstated. In challenging film, while Danny Boyle’s biopic of Steve range of dynamic opportunities for in furthering their careers and projects. trusts and foundations place a growing times he has provided inspirational Jobs brought the Festival to a wonderful audiences to enjoy a wide range of film. value on the importance of our activities. leadership to the Board and organisation. conclusion. Making it to the top slots in These included sell-out screenings in our Alongside our mission to find and support In a competitive environment the Festival His ambition and passion for the BFI the programme, these two great British LOVE blockbuster season, ranging from future filmmakers, it is a privilege to was supported by increased sponsorship National Archive, improving diversity, films had to really stand out against Wings of a Dove at Paisley Abbey and support those already making their way and our bi-annual fundraising Gala educational opportunities and our stiff competition from the rest of the A Matter of Life and Death at Norton successfully in the industry. Many BFI- ‘Luminous’ far exceeded our expectation. digital capabilities, together with his world. The number of distinctive British Aerodrome, to the Nottingham Games backed films such as Brooklyn, High Rise, determination to make the BFI UK-wide films winning critical acclaim on the Festival’s exploration of amorous The Lobster, and 45 Years have achieved We would like to record our thanks to the has been transformative. We were world festival circuit has increased storytelling in games. critical success with BAFTA and Oscar® Department for Culture Media and Sport, delighted to bestow a Fellowship on steadily in recent years, and a reminder nominations and proved popular with who supported our income generating him for his outstanding contribution that success can’t be measured just in Our pledge to digitise and make available audiences internationally. ambitions with a capital grant to further to television and film. Greg leaves a economic terms, but driven by creativity 10,000 titles from the BFI National Archive commercialise our estate at Stephen Street significant legacy; one that we, the Board – something the Brits have in spades. and significant regional archives connected With a firm look to the future, the BFI and BFI Southbank. and the wider organisation are proud with audiences with a level of exuberant made a major commitment to diversity to build on. Our role is to do all we can to bring enthusiasm that even the most optimistic and inclusion by introducing the Diversity As we approach the end of Film Forever, forward the next generation of creative could only have dreamed of. In the first Standards for all those seeking funding our five–year strategy for film 2012-17, As we move into the next era, we are people, to give opportunity where it nine months following the launch of the from us. The scheme has received we have begun the process of developing delighted to welcome to the Chair, might not exist. Our mission is to make first 3,000 titles on ‘Britain on Film’ we had recognition from Government and is our direction for the next five years. Josh Berger. Josh has been on the BFI sure that film, television and all the arts over 8.5 million views across all channels, being solidly supported by the industry During the first three months of 2016 Board for the last five years, and so of the Moving Image are central to all including online. Having established the as an important agent for change to we have been evaluating and reviewing brings a winning combination of wider our cultural and creative lives. size of the public appetite to see and make opportunity available where it learnings from Film Forever, taking early industry knowledge and an experienced enjoy their own moving history, we hasn’t always existed before. During the soundings from the industry. It is clear understanding of the BFI. With Josh’s This Report is ample proof that it has are excited about the next instalment, year there was a particular emphasis on from these initial discussions that the proven energy and commitment we been a very exciting year for the BFI, ‘Rural Britain’, to be launched next year. gender and the BFI London Film Festival, strategic priorities captured in Film will be able to sustain the momentum packed with a richness of cultural for instance, opened with the female-led Forever remain the right ones and that established under Greg’s great leadership, programmes and creative opportunities The BFI Film Academy, which operates Suffragette and, for the first time ever we should build on them going forward. and push ahead with our ambitious which we and our partners have in every corner of the UK seeking out outside the US, hosted the Geena Davis However, there is recognition that times plans for the future. delivered for everyone across the UK, those young people aged 16-19 who are Institute’s Global Symposium on Gender have changed since the publication of wherever you live, whatever your age. thinking of a career in the industry, in Media. Looking at the year overall, Film Forever and there are new challenges JOSH BERGER CBE was financially supported for a third 50% of films backed by the BFI were and opportunities for our screen industries CHAIR, BOARD OF GOVERNORS Education is the foundation stone, year by the Department for Education. produced by women and over 30% had and culture. A number of key themes AMANDA NEVILL CBE and this year we led a panel of experts The initiative, with its focus on creating a female director. Our ambition is to have emerged and we look forward to CHIEF EXECUTIVE from 18 European countries to publish opportunity where it might not exist reach a 50/50 position on gender of consulting further with the industry a single ‘Framework for Film Education’. otherwise and finding and backing director in as short a time as possible. and publicly during the summer of 2016,

7 EXPANDING Students at Park View Academy in Leeds taking part in filmmaking activity as part EDUCATION & of their Into Film film club. BOOSTING AUDIENCE CHOICE

THE BFI 5–19 club leaders confirm that using film saw opportunities for 60 young volunteers EDUCATION OFFER has improved young people’s imagination to get hands-on experience in and creativity, while 78% say it has producing a film festival.The Future improved their speaking and listening Film Festival awards are supported INTO FILM skills, and overall enjoyment of learning. by The Chapman Charitable Trust and We recognise that the future of British Watching a wide array of film in a The London School of English/London 9,000 ACTIVE film depends on inspiring future regular, communal setting inspires School Trust. The BFI Raw Awards, filmmakers and adventurous in young people a love of cinema and an additional £5,000 prize available film-watchers. For us that starts a desire and enthusiasm to discover for BFI Future Film Festival winners, with engaging young people from the more, including how to make film. are kindly supported by the concept FILM CLUBS age of five years old, right through to founder Charles Morgan. when they leave school and beyond. We partner with Into Film which AT BFI SOUTHBANK The African Odysseys programme ACROSS THE UK has one of the largest school based The BFI Future Film Festival is which introduces black diaspora networks for cultural education, programmed by young people for communities to cinema through with over 9,000 active film clubs across young people and offers under 25 monthly screenings and talks this the UK. As well as watching films, year olds a unique opportunity to year featured a two-week practical film 81% of club leaders film club members are encouraged submit films (this year we had course for emerging black film-makers to discuss and review what they see. a record 1,420 entries), attend talks, led by African-American actor and confirm that using film has Into Film also delivered training and masterclasses and networking events. director Tim Reid. The programme also CPD to over 6,000 club leaders and Highlights this year included keynotes included a retrospective of the work improved young people’s teachers face to face, and to a further by Sarah Gavron and Faye Ward of Haitian born director Raoul Peck, 2,852 online. (director and producer of Suffragette) celebrations of the work of black artists and by film-makers Jenn Nkiru and Aubrey Williams and Eve Wright, and imagination and creativity Film clubs provide a safe space for Desiree Akhavan, plus screenings of the gala premiere of Looking for Love, young people to grow, flourish and Dear White People, Room, and A Syrian by Menelik Shabbaz. gain confidence. In a study, 81% of Love Story. A new addition this year BFI Future Film Festival 2016, BFI Southbank

8 9 Children from Cathedral School, Southwark enjoying the Cultural Campus programme, part of Screening Languages. Photograph Michelle Cannon

Left to right: BFI Film Academy Network course EDUCATION ONLINE delivered by HOME in Manchester. BFI Film Academy Network course The BFI, working with Into Film, delivered by Resource Productions in Slough. produced a free 12 hour ‘MOOC’ (Massive Open Online Course) with the FutureLearn platform to explore Improving Literacy through Film. Students were able to understand how to ‘read’ film, use it for critical analysis, improve story writing using film, and EDUCATION and support film educators all over utilise simple filmmaking techniques LEADERSHIP Europe, written by film education to enhance learning attainment. experts from 18 European countries. & ADVOCACY The BFI has taken the chair of a new The BFI also partnered with the The BFI is a leader in research, European working group on film education teams at the British Museum, development, and innovation in education, drawn from the European the V&A, the RSC and Into Film on learning with film. We were pleased Film Association Directors (EFADs). a new innovative platform developed to play an active role in the overhaul by TES for teachers across the globe: of the GCSE and A level qualifications The BFI was a partner in two major Teaching Shakespeare. So far we have in Film Studies and Media Studies, projects which received funding from provided 20 new resources around ensuring they remain relevant to the the AHRC (Arts & Humanities Research Shakespeare on screen, including ten curriculum of the future. In November Council): ‘Fifty Years of British Music full-length films such as The Tempest we published Screening Languages, Video’ (with the University of the Arts, (1908) and England’s Shakespeare (1939). a report detailing two years of work University of Portsmouth and British funded by the London Mayor’s Office Library) and ‘Transformation and We are also a key partner in the into film-centred language teaching. Tradition in Sixties British Cinema’ British Council led Shakespeare Lives Following the publication of Screening (with the University of East Anglia and project, working closely with BBC Arts Literacy in 2013 (the first Europe-wide the University of York). Both projects Online to offer a range of content survey of film education), this year have utilised our archival and library from archive materials to specially the BFI led a panel of education experts collections and the research will commissioned short films around from 18 countries and published contribute to our cultural programme. Shakespeare and cinema. A Framework for Film Education to guide

10 11 NURTURING YOUNG TA LENT 800 YOUNG

Masterclass with Stacey Dooley PEOPLE as part of the BFI Film Academy AND SKILLS Documentary Residential delivered by CTVC PARTICIPATED

BFI FILM ACADEMY This year some 800 young people Festival and its celebrations of Suffragette. skills as a key driver for productivity. – WORKING TO participated across 47 regional courses, This residential was for 18 to 24 year We are working with Creative Skillset while six week-long specialist residential olds and was delivered around the to maintain the strength of our creative CHANGE THE courses saw 185 students take part theme of The Time Is Now, over one workforce, looking ahead to anticipate FACE OF THE FILM in masterclasses delivered by industry week during the festival. Three short what new skills are going to be needed INDUSTRY professionals and practical skills films were made by the 24 young in the future, as well as encouraging training on Screenwriting, Craft Skills, filmmakers, six of whom were alumni new and fresh talent into the sector. Backed with funding from the Department Documentary, Visual effects, of the Film Academy. for Education, the BFI Film Academy Programming and Animation. A two We provide National Lottery funding is now in its fourth year of providing week Craft Skills residential at the There are now almost 3,500 alumni to support Creative Skillset to deliver UK-wide opportunities and training for National Film and Television School in the BFI Film Academy network. its Film Skills Strategy. A key objective talented and committed young people saw 66 of the most talented and Those from the inaugural Film Academy is to achieve a more diverse workforce aged 16–19, from all backgrounds, committed students receive expert in 2012 are now in their early twenties that better reflects our society. to develop new skills and help set them tuition to learn craft specialisms, and already many have put down Initiatives have included a leadership on course to build a career within the such as cinematography and sound. strong foundations for successful development course for women in film industry. Led by industry experts, Of this year’s intake of Academy careers in the industry. exhibition, development for emerging BFI Film Academy courses cover every students, 30% were BAME; 49% women; BAME leaders, talent development area of the industry, enabling young 10% disabled and 16% received free CREATIVE SKILLSET for diverse filmmakers and craft people to develop the commercial school meals, demonstrating we are and technical development aimed at and cultural knowledge and skills to reaching a diverse mix of young people The skills of the UK film industry and encouraging aspiring filmmakers Our aim is to make those first steps. Our aim is to which bodes well for the future. creative sector as a whole are the envy from right across the UK. find and to give opportunities to film of the world and give the UK a major find film talent talent wherever it is in the UK, plus And for the first time this year an competitive advantage internationally. A one-off Capital Fund award has bursaries are available to those needing additional Film Academy residential Government has set out its vision for ensured the National Film and Television wherever it is additional support. was funded by O2’s GoThinkBig, growing the UK’s economy by focusing School completes its Digital Village. working with the BFI London Film on productivity gains and prioritising in the UK 12 13 GROWING PROGRAMMING BFI NEIGHBOURHOOD FILM FESTI VAL UK-WIDE CINEMA FUND AUDIENCES & As part of our aim to broaden audience BFI Neighbourhood Cinema brings film Film festivals are an engaging and choice and provide opportunities to to communities that have a limited popular way for people to watch films engage in cinema right across the UK, provision of cinema locally showing they might not normally get to see, we provide £1.4 million each year British independent and specialised such as specialised and independent CHOICE UK WIDE in Lottery funding to support bold, film. Using Lottery funding we help British films. We support two categories culturally ambitious initiatives that existing community cinemas buy new of festivals – the large events that are present films to audiences in a fresh or upgraded equipment to improve their international in scope such as the and original way. During the year facilities and the breadth of programme. Edinburgh International Film Festival, we made awards to 16 projects with We also fund new and existing touring Glasgow Film Festival or Sheffield over 80% of the funding going to cinemas that focus on providing a DocFest – and smaller, local or specialised organisations outside London. cinema experience to the most remote festivals that help bring audiences or underserved communities. a diversity of programming that Among the projects supported were wouldn’t be available otherwise. a tour of British female directors and During the year we made 100 awards producers showcasing their work, across both schemes to 129 existing This year we provided Lottery funding BFI FILM AUDIENCE a series of archive film events built venues and 49 new venues. An evaluation to support 42 festivals across the UK, NETWORK (FAN) around Britain on Film, a tour of films of the first year of the fund shows that a number in partnership with Northern made by and for people with learning BFI Neighbourhood Cinemas generated Ireland Screen, Ffilm Cymru Wales and We want everyone in the UK to have a four-month season of films exploring disabilities, and a tour of classic Polish 65,000 admissions across the UK. Creative Scotland. The programming the widest possible choice and access and celebrating women’s role in Cinema, curated by Martin Scorsese. has been diverse, ranging from horror, to film and we work in partnership affecting change which was timed silent film, comedy, slapstick and with a wide-range of film organisations to coincide with the UK wide release animation, to music documentaries, and experts to help us do this – the BFI of Suffragette; the BFI-led blockbuster short films, the cross over between art Film Audience Network (FAN). season on LOVE which saw nearly and film, the culture and history of 700 themed screenings across over 70 Afghanistan, Africa and its diaspora, The network comprises nine Film Hub locations, from metropolitan multiplexes Asia, Romani people, LGBT, and films Lead Organisations (FHLOs) plus the and mainland independent cinemas made by and for the deaf community Independent Cinema Office (ICO), through to remote film clubs, village and people with learning disabilities. Cinema for All and Into Film who act halls and other rural community as UK wide strategic partners. Each Hub venues; and a partnership with the has members made up of film exhibitors, BFI’s Britain on Film project showcasing film festivals, archives and other archive footage of people and places organisations that seek to boost from across the nation. audience engagement in a wider range of film and across this network there As well as boosting audience choice, are now over 1,000 members. the FAN contributes to developing skills, expertise and knowledge across Throughout the year the FAN has exhibition sector such enabled us to reach existing and as through REACH, a workshop driven new audiences across the UK with strategic audience development course, an ambitious programme of films, and the Technical Ambassadors scheme, Left to right: Movies on the Meadows Cambridge, the launch including many around common which provides technical training and event of the Cambridge Film Festival, 2015. themes such as The Time is Now, practical support. Herne Hill Free Film Festival, 2015

14 15 BFI DIGITAL

BFI DIGITA L Digitised films in the UFH PLATFORMS Britain on Film collection Overall traffic to our websites grew 41% year on year to 19.2 million visits and on our YouTube channel we received 3.9 million views, a growth 3.9 of 56% on 2014.

For the second year running, BFI Flare BFI PLAYER views since its launch in July 2015. MILLION partnered with the British Council on STRONG GROWTH Another highlight of the year was the the fiveFilms4Freedom, the world’s launch of our subscription service, first global, online LGBT Film Festival. The BFI Player’s second full year has BFI Player+, where for a single monthly YOUTUBE It brings people from across the globe seen strong growth as it becomes more fee people can watch from over 300 together to watch online and for free established. Year-on-year the number classic and critically-acclaimed titles, VIEWS over a 24 hour period five short films of video plays increased from 100,000 with a weekly recommendation from from the BFI Flare programme that to two million, while the number of the film critic Mark Kermode. The take 19.2 MILLION reflect the diverse range of experiences users more than trebled to 2.6 million. up has exceeded our expectations in of LGBT culture. This year’s event went Much of this growth was driven by terms of both revenue and subscribers WEBSITE VIEWS viral on social media with 140 million an enthusiastic audience flocking to who are attracted to the hand-crafted people globally engaging, tweeting view the Britain on Film collection, curation of titles. and posting their support. There were which was launched in the summer over 1.5 million views of the films in and presents 4,700 (and growing) newly- During the year we launched a Samsung 179 countries, including Russia, Saudi digitised films charting the people, smart TV version of the service. Arabia, UAE, Iraq, Rwanda, Equatorial the places and the stories of Britain We also rolled out our first international Guinea and the Maldives. over the past 120 years for everyone collaboration, with Chinese subscription to see online for free. During the year VOD (Video On Demand) platform iQIYI. The online content produced to support there were almost 1.5 million views BFI programmers have hand-picked our cultural programme proved popular of the new material on the BFI Player a collection of stand-out British and encouraged people to engage alone, giving viewers a unique insight independent films and world cinema in new ways. To support the LOVE into British culture, life and identity. from the BFI London Film Festival to 140 MILLION blockbuster season we ran an online make available to iQIYI’s ten million poll to discover the UK’s favourite screen The popularity of the Britain on Film paid subscribers across China. couple and it received 12,000 votes, collection has grown exponentially The service launched with 20 titles PEOPLE while our interactive quiz feature through social sharing which has driven and more are being added as the ‘Are You A Replicant?’ sat alongside people to watch the films on other collection continues to develop. a BFI re-release of the sci-fi classic digital platforms such as YouTube and GLOBA LLY Blade Runner and was viewed over Facebook, totalling over 4.3 million a quarter of a million times.

16 ENGAGED WITH 17 BFI FLARE ONLINE THE BFI CULTURAL LOVE Perhaps the most impactful moment The BFI Film Audience Network engaged during the season was when we revealed audiences in LOVE screenings across every The BFI blockbuster season for 2015 the first identified inter-racial on-screen nation and region of the UK, beginning PROGRAMME was LOVE: Films to Fall in Love With, kiss – in You in Your Small Corner (1962), with Glasgow Film’s beautifully produced Films to Break Your Heart, presented held in the BFI National Archive – which event screening of Wim Wenders’ with the generous support of headline carved through the news media and Wings of Desire at Paisley Abbey with sponsor Plusnet. The programme gained global traction online. This story, simultaneous screenings across the UK. explored and celebrated big screen alongside the guest visit of US film There were 1940s-themed tea dances romantic love, love gone wrong and director Gina Prince-Bythewood – to accompany a 70th anniversary the romantic comedy as core to the director of Love and Basketball and re-release of Brief Encounter. Sensoria’s evolution of screen arts. Women, Beyond the Lights – and a hugely successful drive-in screening of A Matter of Life as both authors (in the wider sense) sell-out twentieth anniversary celebration and Death at Norton Aerodrome, and and audiences were central to the of the Bollywood classic Dilwale Dulhania a discussion at Nottingham’s Game project, carrying forward the momentum Le Jayenge (DDLJ), engaged a range of City festival on the amorous narrative generated by the BFI London Film Festival black and Asian audiences new to the possibilities of video games. which made provocations around female BFI. In the ‘Greatest on-screen lovers’ agency and representation. The LOVE poll, DDLJ’s Raj and Simran, played by Four key LOVE titles, with True Romance programme reappraised the romcom Indian stars Shah Rukh Khan and Kajol, as lead release, were presented in as a critically neglected genre, and was voted top by a global audience that 54 VUE cinemas, and the BFI’s 50th featured a wide range of contributors went beyond South Asian countries to anniversary re-release of David Lean’s – many of whom, from Jean-Pierre include China, Russia, Sudan, Ecuador, newly restored romantic epic Doctor Jeunet to Mike Newell – were involved Indonesia and Iraq. We had much that Zhivago screened at over 150 venues with the season. British talent from appealed to young audiences: costume across the UK. Jane Austen to the Working Title comedies drama was brought to life with a Study of Richard Curtis, and scriptwriter Day and a celebration of Jane Austen LOVE featured on BFI Player with a Tess Morris to actresses Claire Grogan with costumed Regency dance workshops collection of 92 classic and contemporary and Gugu Mbatha-Raw, were at the (in partnership with Nonsuch Dance films available and on BFI DVD with forefront, with Hugh Grant awarded Company); a Clueless-inspired dress-up releases of films such as Kim Longinotto’s a BFI Fellowship in recognition of his party night at BFI Southbank: working Love is All and Ken Russell’s Valentino. fantastic contribution to acting. with Bechdel Test Fest, the Feminists’ BFI Palgrave MacMillan published Guide to Love events were some of seven Film Classics. Overall the LOVE the most rewarding of the season, with season fulfilled its aim of introducing BRITAIN ON FILM Newcastle, Belfast and nine cities As well as being able to watch the films vibrant debate among young female audiences new to the BFI to a tremendous in Scotland, whilst in the capital online, a further five million watched audiences; and immersive screening breadth and depth of film and TV. Our major three-year project to digitise we screened a season of London Britain on Film titles on outdoor screens events presented by Bristol Watershed’s and make available for free 10,000 films on Film at BFI Southbank. at shopping centres and in major UK Future Producers, with cast members from the BFI National Archive and railway stations across the country; from Hollyoaks looking at Love & Sex other significant regional and national The Lottery-funded project has been as well as on viewing pods in Caffé Nero 6 MILLION in the TV Soap were a huge success. collections has gone down a storm with one of the most transformational in and in Fopp stores. the British public, attracting six million the BFI National Archive’s history, VIEWS views across the BFI Player and other changing the way people engage with The collection is also a source of digital platforms such as YouTube and their heritage, reaching new audiences, inspiration for filmmakers: Penny Facebook, 77% from outside London. and giving people a new insight into Woolcock’s revelatory 17-minute Our archive partners UK-wide marked our way of life over the past century short film Out of the Rubble (shown on 77% FROM the launch with sell-out cinema and more. in February) used archive to and open-air screenings in Leeds, explore housing and British urban life. OUTSIDE

18 19 LONDON Left: True Romance (Tony Scott, 1993) CINEMAS Our regular onstage live music and film strands provide the programme & EVENTS with innovative risk taking and performative experiences, continuing to build new audiences and drive membership

Throughout the year BFI Southbank home-movies. Welcomed to to offered a richly varied and highly present their work were Waris Hussein, accessible survey of British and , Sheila Steafel, , international film and television with Sparrows Can’t Sing star Barbara Windsor, a vibrant programme of live events, Leslie Caron with The L-Shaped Room, talks and discussions. There were and Peter Medak to introduce The Krays comprehensive tributes to Orson Welles with Gary and Martin Kemp. and Jean-Luc Godard alongside seasons devoted to the Hollywood noir classics Our regular onstage live music and of Robert Siodmak; the films of Marilyn film strands provide the programme Monroe: a season of restorations of with innovative risk taking and Masterpieces of Polish Cinema, presented performative experiences, continuing in association with Martin Scorsese, to build new audiences for the BFI and The Film Foundation and Kinoteka drive membership. BFI Sonic Cinema Polska; a look at the pioneering cinema presented two events with bands of D.W. Griffith; a revival of the films of Public Service Broadcasting and Saint Andrei Tarkovsky; and tributes to such Etienne delighting sold-out houses important and influential figures in with their unique blends of archive television as producer , film and live music. BUG: The Evolution Noel Coward and to the great writer, of Music Video, hosted by comedian Dennis Potter. Adam Buxton, reached its landmark 50th edition this year and fittingly BFI Southbank is unique in its curated a special David Bowie BUG. presentation of the unfamiliar, the We launched our Shakespeare on Film rarities and the obscurities, alongside project with the world premiere of well-known classics. A centrepiece Play On! Shakespeare in Silent Film, to London on Film was a revival of a new creative archive film comprised the iconic The Long Good Friday, which of BFI restored Shakespeare silents with other landmark titles Piccadilly, brought to life with a live score from Pressure and Beautiful Thing, shared the the Shakespeare’s Globe players. programme with a little-known oddity Brittania of Billingsgate and a number of

20 21 (Abderrahmane Sissako, 2014) ENGAGING Timbuktu WITH THE CONTEMPORARY

A key part of the cultural programme at BFI Southbank are previews of first run releases and showcases of the work of contemporary British and international filmmakers. One of Africa’s greatest filmmakers, Abderrahmane Sissako, was celebrated with a run of Timbuktu and a small retrospective of some of his earlier features, while Haitian director Raoul Peck appeared on stage to talk about his work. Other notable filmmakers interviewed on stage included , Carol Morley, John Waters, David Puttnam and Alan Parker – who brought an exhibition of his original cartoons into the venue, to mark the donation of his films and personal papers into the BFI National Archive – and Christopher Nolan who helped draw attention to the BFI’s ongoing commitment to film in the digital era with a hot ticket discussion on the merits of the physical medium during the BFI London Film Festival.

22 23 Clockwise from left: BFI London Film Festival Opening Night 2015 BFI LONDON Premiere of Suffragette (Sarah Gavron, 2015), two views from the red carpet; FILM FESTIVAL new BFI Fellow Cate Blanchett. IN PARTNERSHIP WITH AMERICAN EXPRESS®

The 59th BFI London Film Festival in At the festival’s Awards ceremony partnership with American Express® three of the four LFF competition presented 423 fiction and documentary awards were won by films directed features, and live action and animated by women – Chevalier by Athina Rachel shorts from 72 countries, with nearly Tsangari (Best Film); Sherpa by Jennifer 800 international and British filmmakers Peedom (The Grierson Award for Best (from global stars to new talent) presenting Documentary); and An Old Dog’s Diary work across 16 London cinemas and 45 by Shai Heredia and Shumona Goel regional cinemas, including live cinecasts (Best Short Film Award). The Sutherland of Opening Night film Suffragette and Award for Best First Feature was Closing Night film Steve Jobs, with total presented to Robert Eggers for The Witch, audiences of 164,000. We also welcomed and the Board of Governors presented more than 1,100 accredited delegates the BFI Fellowship to Academy Award®- for dedicated industry screenings. winning actress Cate Blanchett.

In the 2015 edition of the festival we Other highlights this year were the new created a high profile and very timely LFF Connects series of thought-provoking debate about gender equality and talks exploring the future of film and diversity in film, declaring it ‘the year of how film engages with other creative the strong woman’. Having opened with industries which featured discussions with the European premiere of Suffragette – Christopher Nolan and Tacita Dean (Film); director, producers and predominant Guy Maddin (Art), Louis Theroux with cast all women – a major highlight was Simon Chinn (TV), Chris Milk (Creative then a Global Symposium on Gender in Technologies) Alistair Hope (Games) Media, hosted by the BFI in partnership and Laurie Anderson with Brian Eno with the Geena Davis Institute on (Performance/Music). While shining Gender in Media, and with Women in a light on the future of filmmaking, Film and Television (WFTV) at which the Festival continued its commitment Davis gave a brilliant keynote address. to the preservation and restoration work of film archives with 15 works presented including the annual BFI Archive gala, the world premiere of Shooting Stars.

24 25 This year’s 30th anniversary edition of BFI Flare: London LGBT Film Festival, our 10th year supported by principal sponsor Accenture, opened with the world premiere of the new British film The Pass, starring Russell Tovey. The programme presented over 50 features, more than 100 shorts and a wide range of special events, guest appearances and workshops, before closing with Summertime. As a special feature for the anniversary, screenings continued the day after the Festival closed with Second Chance Sunday Left: BFI Flare Closing Night 2015, devoted to 2016 Festival best-sellers Above: Mapplethorpe: Look at the Pictures and a selection of LGBT archive gems (Fenton Bailey and Randy Barbato, 2016) from the Festival’s history. DIVERSITY DISTRIBUTION Right: Carol (Todd Haynes, 2015) HIGHLIGHTS UK-WIDE The BFI’s 360° commitment to LGBT & INTERNATIONALLY In April 2015 we re-released Ridley Scott’s BFI FLARE: cinema has expanded significantly in seminal 1982 sci-fi film Blade Runner, recent years, from our VOD platform reaching audiences old and new across BFI Player which has a vibrant selection Make More Noise! a compilation of BFI the country. It was our biggest cinema of films in the Flare collection, to the National Archive silent footage of success to date, taking over £750,000 LONDON LGBT BFI Film Fund’s Lottery support of such suffragettes was premiered with a live at the box office. Other BFI releases upcoming releases as Who’s Gonna Love score by Lillian Henley to coincide with include Fellini’s 8½ (1963) which played Me Now? and Departure, both of which Suffragette, and released as part of the in 63 cinemas and is on BFI Player; screened at the festival. Underlining our BFI FAN The Time is Now UK-wide tour Touch of Evil (1958) by Orson Welles; FILM FESTIVAL commitment to developing filmmakers to 54 venues, also on BFI DVD and Jean-Luc Godard’s Le Mepris (1963); and creating opportunities for emerging BFI Player. It also had an Ambassadorial and Man with a Movie Camera (1929) by talent, our LGBT Filmmakers’ Mentorship screening during a month-long campaign the great Dziga Vertov which was voted Programme ran again this year with for gender equality in the Embassy at the Number One best documentary BAFTA and Creative Skillset. Guangzhou, China, on International in Sight & Sound’s poll and was released Women’s Day, 8 March. into 61 cinemas and on BFI Player. The struggle for basic human rights still remains the most pressing issue The World Cinema Foundation’s BFI PUBLISHING for many LGBT people worldwide. restoration of Ousmane Sembene’s We and our partners British Council Black Girl screened as part of the Africa The BFI Love Compendium contains a broad were thrilled with the response and in Motion tour around the UK and range of compelling essays tackling our The struggle for level of support we received from every was released on BFI Blu-ray and DVD, on-screen loves and obsessions. corner of the globe in response to our along with Sembene’s Borom Sarret. basic human rights fiveFilms4freedom initiative, which is In a busy year for Sight & Sound, proving just how powerful cinema highlights included the ‘Female Gaze’ still remains the most is to open hearts and minds. special issue and ‘Deep Focus’ specials on ‘Southern Gothic’ and pressing issue for many ‘The Tarkovsky Legacy’.

26 LGBT people worldwide 27 UK-WIDE ACTIVITIES BY REGIONAL HUB AREA The BFI is at the heart of film in the UK with a network of partners and alliances, filmmakers and audiences, educators and learners that together 1 4 7 create an environment where film and NORTHERN IRELAND BELFAST NORTH WEST CENTRAL CENTRE EAST MANCHESTER the moving image can flourish both 3 BFI Film Academies; NOTTINGHAM, CAMBRIDGE culturally and economically. Our aim 4 Programme Development Awards; 4 BFI Film Academies; 9 BFI Film Academies; 16 Programme Development Awards; is to ensure audiences everywhere have 1 Film Festival Awards; 8 Programme Development Awards; 6 Film Festival Awards; the opportunity to see the broadest 3 Production & Development Awards; 2 7 Film Festival Awards; 58 FAN members 6 Production & Development Awards; 22 possible choice of film, in particular Production & Development Awards; 1 Archive Partner 2 Film shooting locations; 2 Film shooting locations; British and independent cinema. 3 Neighbourhood Cinema Awards 129 FAN members 97 FAN members We work with national and regional 5 BFI LFF screenings; 10 BFI LFF screenings; partners who help deliver this in exhibition, 1 Archive Partner 1 Archive Partner education and skills development, but 2 1 Mediatheque 2 Mediatheques we also reach the furthest corners of 35 Neighbourhood Cinema Awards 17 Neighbourhood Cinema Awards the UK through our film distribution SCOTLAND EDINBURGH activities, publishing and digital initiatives. 6 BFI Film Academies; 13 Programme Development Awards; 5 1 8 2 Film Festival Awards; 3 We distribute films from the BFI National WALES CARDIFF 10 Production & Development Awards; LONDON Archive to a wide range of venues around 138 FAN members 7 BFI Film Academies; 9 BFI Film Academies; the country and internationally, and 5 BFI LFF screenings; 3 Programme Development Award; 35 Programme Development Awards; during the year we reached an audience 1 Archive Partner 4 Film Festival Awards; 17 Film Festival Awards; of 830,000 in screenings across the UK, 1 Mediatheque 3 Production & Development Awards; 188 Production & Development Awards; and a further 163,000 internationally. 18 Neighbourhood Cinema Awards 2 Film shooting locations; 4 10 Film shooting locations; DVD and Blu-ray remain an important 104 FAN members 315 FAN members means of reaching audiences and driving 2 BFI LFF screenings; 3 Archive Partner income for the BFI and sales continued 3 1 Archive Partner 1 Mediatheque to rise even as the market place is 1 Mediatheque 7 9 Neighbourhood Cinema Awards NORTH SHEFFIELD 9 Neighbourhood Cinema Awards moving away from these formats. 8 BFI Film Academies; 5 10 Programme Development Awards; BFI film and archive footage sales bring 9 10 Film Festival Awards; 6 8 our archive to audiences on television 11 Production & Development Awards; SOUTH EAST BRIGHTON in the UK and internationally, reaching SOUTH WEST & WEST MIDLANDS 5 Film shooting locations; BRISTOL 6 9 4 BFI Film Academies; millions of viewers. For example, 131 FAN members 5 Programme Development Awards; 10 BFI Film Academies; Mark Cousins’ creative documentary 5 BFI LFF screenings; 4 Film Festival Awards; 12 Programme Development Awards; Atomic, which used archive material 2 Archive Partners 12 Production & Development Awards; 13 Film Festival Awards; from the BFI, screened on BBC4 and was 2 Mediatheques 2 Film shooting locations; 17 Production & Development Awards; seen by an audience of 364,000 UK-wide, 21 Neighbourhood Cinema Awards 155 FAN members 7 Film shooting locations; 10 BFI LFF screenings; of which 90,000 were on the iPlayer. 143 FAN members 2 Archive Partners 7 BFI LFF screenings; 17 Neighbourhood Cinema Awards 2 Archive Partner 1 Mediatheque 28 29 42 Neighbourhood Cinema Awards SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM

Left to right: The Lobster (Yorgos Lanthimos, 2015) Notes on Blindness (Pete Middleton and James Spinney, 2016) The Survivalist (Stephen Fingleton, 2015) Second Coming (Debbie Tucker Green, 2014)

DEVELOPMENT City strand of the festival with its As we stepped into Awards season, international premiere. Other premieres John Crowley’s Brooklyn won Outstanding & PRODUCTION in Toronto included two ambitious British Film at the BAFTAs and was In 2015 we celebrated the success of literary adaptions – Ben Wheatley’s nominated for Best Film at the Oscars. multiple BFI-backed British films, critically, extraordinary take on the J.G. Ballard Nick Hornby’s screen adaptation of the commercially and internationally. classic High Rise, and the Scottish historical Colm Toibin novel won the hearts of Exciting first features from Stephen masterpiece Sunset Song, directed by critics and audiences alike, following Fingleton, Debbie Tucker Green, John Terence Davies. Scott Graham’s second the tale of a young woman in the 1950s MacLean, Guy Myhill, Alex Taylor feature, Iona, closed the Edinburgh torn between her beloved home in and Andrew Steggall, as well as the International Film Festival, following Ireland, and the possibility of a new incredible success at festivals and the presentation of two awards for life and romance in New York. 45 Years awards events of Suffragette, 45 Years, 45 Years – Best British Film, and Best and The Lobster were also nominated The Lobster and Brooklyn, among Actress for . for Outstanding British Film. many others, have demonstrated the incredible range and diversity Notes on Blindness, the anticipated first In BAFTA’s Outstanding Debut category, of British filmmaking talent. feature from promising directors Peter three of the five nominations were BFI- Middleton and James Spinney, featured backed productions; Stephen Fingleton’s Yorgos Lanthimos’ The Lobster was in the New Frontiers section at Sundance, The Survivalist, Debbie Tucker Green’s welcomed with critical acclaim at the accompanied by its virtual reality Second Coming and Sean McAllister’s 68th Festival de Cannes, picking up project Into Darkness. The film presents A Syrian Love Story. McAllister’s hard- the coveted Jury Prize for its eccentric a hauntingly beautiful and powerfully hitting account of a family torn apart depiction of romance in a dystopian emotive experience of blindness and by the war in Syria also earned him the future. The film also travelled to demonstrates the talents of two highly Grand Jury Prize at Sheffield DocFest. Toronto, along with London Road by original storytellers. which opened the City to

30 31 SOME KEY BFI-BACKED TITLES

THE GREASY STRANGLER JIM HOSKING THE GIRL WITH ALL THE GIFTS SWALLOWS AND AMAZONS COLM MCCARTHY PHILIPPA LOWTHORPE

AMERICAN HONEY ANDREA ARNOLD ETHEL & ERNEST ROGER MAINWOOD I AM BELFAST EARLY MAN MARK COUSINS NICK PARK I, DANIEL BLAKE KEN LOACH

JUST JIM FREE FIRE LADY MACBETH A UNITED KINGDOM CRAIG ROBERTS BEN WHEATLEY WILLIAM OLDROYD AMMA ASANTE 33 DIVERSITY Notes on Blindness (Pete Middleton and James Spinney, 2016)

During the year we undertook an We have also set about to ensure the audit of the Three Ticks pilot scheme guidelines engage with and challenge and the guidelines have been further the industry in a constructive manner, developed. Under the new name of BFI to make a strong and long-lasting change. Diversity Standards we have expanded The revised standards were launched the scope to all other activities we at an industry event during the BFI support with Lottery funding, as London Film Festival during which we well as those supported through BFI also announced a new Diversity Fund, funded partners (including BFI Film which is now receiving applications. Audience Network, Creative England, Creative Scotland, Ffilm Cymru Wales, The standards have been met positively Film London, Into Film, and Northern by the industry and we are confident Ireland Screen) who will be adopting they will be adopted by others. the standards over the course of 2016.

34 35 Little Soldier (Stella Corradi, 2015)

BFI NET.WORK In 2015 the NET.WORK launched BFI AARDMAN its online offer at the Edinburgh Since launching in September 2013 International Film Festival allowing DEVELOPMENT LAB BFI NET.WORK, the £3million UK wide filmmakers to submit their work directly The BFI Aardman Animation lab was talent development initiative, has to NET.WORK execs for engagement. set up in 2015 to help three filmmaking continued to discover, develop and fund The Postroom has seen submissions teams develop their animation projects the most exciting new and emerging from a growing community of over under the expert eye of the world’s filmmakers. The partnership which 300 filmmakers and each month the leading stop-frame and CGI (Computer involves Creative England, Ffilm Cymru Postroom Pick highlights the best Generated Imagery) animation studios. Wales, Northern Ireland Screen, Film submission to the site, championing With two years’ Lottery funding London and the Scottish Film Talent as yet undiscovered voices. guaranteed, the teams are learning Network has to date funded 194 short and working with Aardman on three films, 68 features in development and This year saw the first NET.WORK feature film projects, with a dedicated four features currently in production. Weekender take place at HOME development executive and co-founder in Manchester. The weekend of Peter Lord himself working on the The short films supported through masterclasses, talks and events brought visual design of one of the projects. our funds have received three BAFTA 40 NET.WORK filmmakers on the cusp nominations, a BAFTA win, an Oscar of making their first feature together nomination and have screened and with a number of UK industry experts won awards at various film festivals and filmmakers including Andrea including Sundance, the BFI London Arnold, Peter Strickland, Joe Cornish SUPPORTING Film Festival and Berlinale. and Clare Binns. FUTURE FILMMAKING BFI Network has to date funded 194 short films, 68 features in development and 4 features currently in production

36 Above right: No Place Like Home (Cat Bruce, 2015) 37 Right: Balcony (Toby Fell-Holden, 2015) Left: Light Years (Esther May Campbell, 2015) Above: The Lighthouse (Simon Hunter, 2016) Right: The Confession (Ashish Ghadiali, 2016)

VISION AWARDS DOCUMENTARIES John Akomfrah’s Kathleen Cleaver: Black The BFI Vision Awards were set up Following two documentary pitching Panther Symphonies is an exhilarating to help successful applicants fund sessions at Sheffield Doc/Fest in June feature length ‘thriller documentary’ their development slates and grow and at the BFI in December, we have on Black Power activist, Kathleen their businesses. Of the 19 companies now made commitments to support Cleaver’s four extraordinary years in awarded Lottery funding over the seven new documentaries through revolutionary Algeria. two years of the scheme, five are the BFI Film Fund. specialising in animation, and many Ashish Ghadiali’s Living the War on Terror, have now gone into production or Yonathan Gal’s Dreadtown is a feature centres around the rise of the Bosnian are due to release films they have documentary that tells the story of Mujahideen to the torture-cells of developed under the scheme. British reggae group Steel Pulse, who Guantanamo Bay, from the rebel emerged from the racial turbulence of training camps of Syria to the prison- Establishing and maintaining a slate 1970’s Britain to conquer the world. bars of Belmarsh. of films is immensely challenging, particularly for emerging producers, Sky Neal and Kate McLarnon’s Even Lucy Walker’s Slumgods is a musical- and we have just opened applications When I Fall tells the story of three feature documentary that charts for a new round of Vision Awards women survivors of child trafficking the astonishing rise of hip-hop in designed to help them cover their who together set up Nepal’s first one of the world’s most unforgiving overheads in order to sustain themselves circus and, following the devastating environments, the slums of . in the first year of business. earthquake that hit the country in 2015, heroes of the rebuilding process. Brian Hill’s The Hippie Trail: How Paradise Was Found and Lost features archive Lucy Cohen’s Fly Away charts the of the hundreds of thousands of emotional recovery of a family as they young Westerners headed East in the come to terms with their father’s 60’s and 70’s, in search of adventure, suicide that left them in financial ruin. enlightenment & themselves.

38 39 ON THE INTERNATIONAL STAGE

CO-PRODUCTION INWARD INVESTMENT UPDATES 2015–16 has been another hugely successful year for the UK production BRAZIL industry with very high levels of inward investment across film and This has been a busy year for the BFI’s In November 2015, BFI International high-end television making their International team as we help build attended the Sao Paulo International productions in the UK, reaffirming and strengthen Britain’s relationship Film Festival (Mostra) at the invitation the UK’s status as a leading centre for with China. A major bi-lateral project, of the Mostra, UKTI Brazil and the production excellence. Many of the in partnership with FCO China, the GREAT campaign, to promote the UK large scale productions coming to the British Film Commission and supported as a co-production and filmmaking UK have been assisted and supported by UKTI China, the GREAT campaign destination, and to scope the Festival by the British Film Commission, and Creative Skillset, saw senior as potential platform for UK – Brazil funded by the BFI through Grant-in-Aid Chinese film executives visit the UK for collaboration. Ratification of the and a Lottery award. a six-day familiarisation trip coinciding UK-Brazil co-production treaty is with the BFI London Film Festival to still awaited pending constitutional The BFI-funded partner Creative England meet their UK industry counterparts procedures on the Brazilian side. works with the British Film Commission China industry delegation visit to the UK, across production, studios, tax to provide free, bespoke support to October 2015. (L-R) Janice Chua (Ivanhoe Pictures), specialists, producers, talent agents, BFI International also worked closely The International Fund supported the Yamin Zhang (Enlight), Celine Lin (Wanda), GERMANY, FRANCE productions filming in England, outside distributors and sales agents. A bespoke with the Chinese Film Bureau Sino-European script development Wei Zhang (Alibaba Pictures) London and to promote England UK-China co-production workshop (SARPPFT) on their visit to the UK in initiative Bridging the Dragon BFI International led a select group of internationally, through provision during the Festival, with speakers from October, negotiating for four recent which aims to build greater senior UK producers and a talent/casting of services to facilitate and source the Chinese industry and authorities, Chinese films to be screened as part cultural and creative synergies agent to Berlin for a UK-Germany film locations, studios, facilities and crew. was attended by over 130 UK film of the BFI London Film Festival’s with China. A number of UK workshop, run in partnership with the Creative England’s team liaises with executives from across all film sectors. industry programme. Further ongoing based projects participated in the Medienboard Berlin Brandenburg (Berlin local authorities, film offices, regional A reciprocal workshop was also held strategic work with China included workshop with a larger number of Film Fund). Germany is a key territory and national partners, who provide in Beijing with three high profile UK the preparation and signing of the UK producers benefiting from the for UK film, in particular for export and specialist local knowledge. film executives (including a producer Memorandum of Understanding networking opportunities. co-production. A number of new co- and the casting director of Spectre) (MoU) between the UK and China production partnerships were forged. Our support for the British Film to present in detail the benefits of and attendance at the China UK Film Commission and Creative England working with the UK. The workshop and TV Conference which was part The BFI International Fund also complements the work of other national was attended by 100 or more Chinese of the UK China High Level People to supported UK filmmaker attendance screen agencies across the UK. film executives. People Dialogue. at the Dinard British Film Festival.

40 41 BFI and Creative England Video Games Day 2015

EXPANDED ROLE FOR THE BFI CERTIFICATION UNIT

The BFI Certification Unit is responsible for certifying films, high-end television programmes, animation television programmes, children’s television programmes and video games as British, either under the relevant Cultural Test or (for film and television) as official co-productions under one of the UK’s 11 bi-lateral treaties (five of which allow television co-production) or the European Convention.

In addition, the Certification Unit has continued to promote and market the Creative Sector tax reliefs at every opportunity at events and conferences around the UK and in Europe such as MipCom, Mip Junior, Develop, London Games Festival, Children’s Media Conference and EIFF amongst others. The Unit also ran a second BFI Video Games Day in Nottingham as part of the Game City Festival.

The Certification Unit also assesses the Diversity Standards Applications for the BFI Film Fund.

42 43 Main Picture: Despatch pickers at work in a climate controlled film vault, BFI National Archive UNLOCKING OUR Below: Inspecting film with Ian Lawman, FILM HERITAGE FOR Operations Specialist EVERYONE TO ENJOY

Unlocking Film Heritage marks a Public interest in the workings of the paradigm shift from analogue to archive led us to take part in the National digital for the BFI National Archive Trust Heritage Open Days for the first as we see significant advancement time, with tickets selling out in 24 hours towards successfully accomplishing for a series of public tours of the its objectives in preservation, Conservation Centre in Berkhamsted. digitisation, interpretation and access. The end of 2015 saw the National Installation of world leading Digital Television Archive off-air capture Preservation Infrastructure at the process go fully digital – with manual Conservation Centre was achieved legacy processes becoming automated. during the year and is expected to be Part of this transformation was a up and running during the summer trial of BBC software to enable the of 2016. New state-of-the-art film and integration of off-air capture into our sound scanners and a post digital newly developed digital workflows. production system will transform our We are now able to capture eighteen in-house capacity to turn analogue channels twenty-four hours a day. into digital, equipping the BFI National Archive for the digital future.

This work has attracted enormous interest within the film archive community and we invited delegates from archives in Brazil, China, Singapore, Argentina, Estonia, Ukraine, Portugal and Thailand to an executive education programme where we could share the learnings from the Unlocking Film Heritage programme and encourage new international partnerships across the global archival community.

44 45 DIGITISATION

THE NATIONAL The target we set ourselves in Film By the end of March 2016 we reached Forever was to select, digitise and make our digitisation goal for the year of CATALOGUE available 10,000 titles – comprising 7,000 titles of which 4,500 titles are A further major outcome of the project 5,000 from the BFI National Archive already available, mostly for free on is the creation of a national catalogue and 5,000 from regional and national the BFI Player. A programme is also of British feature films, with every film archives and commercial rightsholders’ underway to digitise the BFI stills being registered in the Entertainment collections from across the UK. collection comprising approximately Identifier Registry (EIDR) and documented The title selection process is now 1.35 million images. in the BFI’s Collections Information complete and included a public vote Database (CID) using a new European on bfi.org.uk to select one of three Unlocking Film Heritage is the beginning standard for film cataloguing. The wonderful but forgotten British feature of our ultimate goal to digitise and entire UK filmography has now been films to be digitised. The chosen film make available to the public all of our fully documented in CID and 100% – Mr. Topaze, a ‘lost’ dark comedy from screen heritage, with the first public of titles are registered in EIDR telling 1961 directed by and starring Peter engagement campaign, Britain on Film, the complete story of British feature Sellers – was digitised and offered made possible thanks to a grant from film for the very first time and free-to-watch for up to 48 hours on the Esmée Fairbairn Foundation. giving us valuable baseline data for the BFI Player. At launch the attention it attracted evidence-based strategy development across the media and from people and investment. flooding online to watch the films was a clear sign of the popular appeal of heritage film and it has led to other archives wanting to follow suit and willing to pay to come and learn from our experiences. Twentieth Century Fox Film Corporation/ 46 Mr. Topaze 47 Norman Hargood (photographer) KEY BFI WOMEN IN LOVE FORGOTTEN TV (1969) DOCUMENTARIES OF RESTORATIONS Digitally remastered with generous THE 1950S AND 60S: support from Simon W. Hessel, this film by Ken Russell screened in the SONG OF THE VALLEY & REMASTERED BFI’s LOVE season. (1957) TV documentary short by John Schlesinger BERLIN HORSE (1970) capturing a man’s reminiscences of FILMS One of five films by artist filmmaker his home as he is led away to prison. Malcolm Le Grice, this experimental short was shot on 16mm and screened MORNING IN THE THE COLONY (PHILIP at BFI Southbank as part of a rare evening of twin-projection films. STREETS (DENIS DONNELLAN, 1964) MITCHELL, ROY This richly rewarding, often wry film HARRIS, 1959) gives the perspectives of a group of men and women who tell how it felt to Made by the BBC’s Northern Film Unit be a West Indian in Britain, specifically this film is an impressionistic view in Birmingham. of life and opinion in the back streets of a Northern city in the morning. These three films and many others screened during the BFI’s Visions of Change season in the autumn that looked at the evolution of the British TV documentary and they are included on the forthcoming BFI DVD box set Visions of Change Volume 1: BBC 1951-1967.

SHOOTING STARS (1927) We restored this silent classic by Anthony Asquith and held the world premiere at the BFI London Film Festival with a newly commissioned score played live by a 12-piece ensemble. The restoration and new score was made possible thanks to the generosity of AIR Studios, Arts Council England, the BBFC, LUMINOUS donors, the Michael Marks Charitable Trust, John & Jennifer McLellan, PRS for Music Foundation, and Betsy & Jack Ryan.

48 Clockwise from above: Women in Love (Ken Russell, 1969), The Colony (Philip Donnellan, 1964), 49 Shooting Stars (Anthony Asquith, 1928) Morning in the Streets (Denis Mitchell, Roy Harris, 1959) PUBLIC POLICY, priorities for our 2017–2022 strategic Game Republic and Sheffield Doc/Fest, plan with industry and public sector is seeking to build long-term growth leaders in cities such as Cardiff, across the Yorkshire and Humber LEADERSHIP Belfast, Newcastle, Edinburgh, Leeds region, with a focus on expanding the and Nottingham. This outreach has screen industries infrastructure and provided very useful evidence and skills base. knowledge which will inform our & ADVOCACY regional engagement going forward, The BFI is an active contributor to as well as our strategic direction. a number of public and industry for a including the Creative Industries The BFI helps ensure that public policy The BFI has made representations to This year we launched a Creative Council, UK Trade & Investment’s supports film and, in particular, British Government regarding the future of the Clusters Challenge Fund which is Strategic Advisory Group for the film. During the year, we worked with BBC and to Parliament on the future of designed to help identify and support Creative Industries, the Creative the UK Government and its devolved Channel 4. Both channels provide vital the growth of emerging screen industry Industries Federation, the IPO, the administrations, the European funding for British independent film, hubs that we know exist across the UK. CBI’s Creative Industries Group and Commission and various statutory a large audience for our work, and play Its purpose is to help create a blueprint the British Screen Agencies Council. and industry organisations on a range a key role in developing and nurturing for growth of capacity, capability and Our work with these partners this of public policy areas relating to film. talent for the screen industries. talent development across all screen financial year has covered the impact Our positions reflect that we would sectors – film, TV, video games and of the new Apprenticeship Levy on UK POLICY not wish to see changes which would animation – out of London. In the first screen businesses, efforts to boost the BFI Reuben Library, Southbank place these contributions in jeopardy. round we awarded seed funding to the creative industries in the UK nations As part of the government’s Yorkshire Screen Industries Hub bid and regions and a renewed focus on Comprehensive Spending Review, This year we have continued to increase which then secured match funding screen industry exports. the BFI was given notice that it would our engagement with the Nations and from a Yorkshire-wide consortium. receive new capital funding to support regions. This has included discussing Screen Yorkshire, in partnership with THE BFI REUBEN Fellini and Howard Hawks, material modernisation and revenue raising LIBRARY focusing on the writings about African projects at BFI Stephen Street and cinema to tie in with Abderrahmane BFI Southbank. We continued with Since re-locating to BFI Southbank, Sissako, a focus on Orson Welles in implementation of the recommendations visitor numbers to the BFI Reuben July and Jean-Luc Godard in early 2016. of the Government’s Triennial Review Library continue to increase year on Alongside our collection displays we’ve with 25 of the 26 recommendations year, averaging over 6,000 visitors hosted events as part of the overall being completed, and with further a month and at our busiest time public programme, which offer our work continuing on the remaining one. welcoming over 300 people a day. audiences a more intimate setting for Many browse the shelves for inspiration delving deeper in to the offer at BFI The UK Government (DCMS) Culture and research, others come as part of Southbank. Some highlights from the White Paper also recognised the specialised group study visits mainly as past year include events around the BFI’s work on diversity, its innovative students studying at A and AS level, but LOVE blockbuster including a talk approach with the BFI Film Academy also university undergraduate groups with script-writer Tess Morris about in helping young people from right with students coming from overseas. scripting the Rom-Com and a sell- across the UK into higher education out run of events about the work of and/or employment and the steps In the past year we have supported the Jean-Luc Godard. A digital library on taken to draw commercial revenue BFI’s public programme with displays demand service was launched in 2015, through our internationally-recognised of library material from the collections, recognising that not everyone can expertise in archiving and conservation. targeting particular screenings and travel to London to refer to material. seasons including work on Federico

50 51 The Falling (Carol Morley, 2014) BFI Ambassador at LUMINIOUS fundraising gala, 2015 FUNDRAISING & PHILANTHROPHY

The BFI is the only charity in the world American Express® returned as Principal continuing their significant commitment that takes care of every aspect of film: Partner of the BFI London Film Festival to Britain on Film, and the Louis B. past, present and future. Our supporters for a sixth successive year, supporting Mayer Foundation and Film Foundation help keep the magic of film alive for the Opening Night Gala for Suffragette, with a grant for film restoration at the everyone, forever. along with the American Express Gala BFI National Archive. We also welcomed for Carol, and successfully consolidating a raft of new Trust supporters in the This year was a particularly strong one growth across their card-member year and received a number of for fundraising and philanthropy as access programme. significant pledges for the year ahead. we surpassed our target by almost half a million pounds whilst additionally Giorgio Armani joined the Festival for Individual supporters, through setting a healthy basis for fundraising the first time to present ‘Films of City BFI Patrons, our Film Forever Club and in the year ahead. Frames’, a short film project working major donors enabling specific projects, with students from four international gave over £930,000 to the BFI in 2015– A highlight of the year, on 6 October, film schools that took Armani’s Frames 2016. Our Patrons Scheme continued was the return of our LUMINOUS for Life Eyewear Collection as inspiration. to attract new members and wonderful fundraising gala which raised £400,000 We were also delighted to welcome testimonials on the experience of being net in one evening in support of the Sky Movies as an Official Sponsor for a BFI Patron, manifest through high essential work of the BFI National the first time. retention of memberships within Archive. Over 400 guests attended the scheme. the evening, compèred by BFI In 2016 BFI Flare: London LGBT Film Governor Jonathan Ross, featuring Festival celebrated two anniversaries; The Friends of the an impassioned speech from BFI its 30th birthday and the momentous is an independent non-profit organisations, Ambassador Tom Hiddleston, and ten year anniversary of Accenture’s registered in California, that supports presented in partnership with IWC Principal Sponsorship. the work of the BFI. Over the course of Schaffhausen. the year, it made two grants totalling Outside BFI festivals, we welcomed $191,388 to the BFI. The majority October also saw the launch of Film a new partnership with Plusnet, the of grants were directed to the BFI is Fragile, our nationwide fundraising internet service broadband provider. National Archive, whilst one restricted campaign to raise £1million to restore Supporting the UK-wide 2015 blockbuster, grant of $4,800 from the Film Music and protect national treasures from LOVE, Plusnet customers were able Foundation was made in support of the UK’s film and television collection. to access nationwide screenings, a young composer’s workshop and Film is Fragile has raised over £690,000 special events and unique promotions seminar on film music that took so far, engaging the support of many and experiences across the three place at the BFI London Film Festival. new donors to the BFI, as well as month season. The Friends of the BFI is an important attracting a strong national profile and growing source of support for us, to our charitable mission. One new Support from Trusts and Foundations with a bi-annual events programme supporter identified through our sustained year-to-year growth and now established in San Francisco and direct mail campaign made a hugely exceeded their target for the year. plans to expand to the East Coast in 2016. important £50,000 gift. Our generous supporters included the Esmée Fairbairn Foundation,

52 53 Nick Blackburn Stephen & Sigrid Kirk Jing Yu IN-KIND YOUR SUPPORT HELPS US SECURE Ashley Bond Steven Larcombe PARTNERS Kent A. Bowen Laura Lonsdale And thank you to all those Air New Zealand Felicia Brocklebank Alison McCarthy Lord Patrons who would prefer to Air Studios THE FUTURE OF BRITISH FILM Rob Carrington Jill & Ian McLaughlin remain anonymous. BasilGlobal Lata Chanrai Stephan Pierre Mitchell Cano Water The BFI warmly thanks the following individuals and organisations Tom Cleaver Jackie Mountain *The Friends of the British Film Casamigos Tequila for their generous support in 2015–2016 John Chinegwundoh & Peter & Maggie Institute is a California-based Champagne Billecart-Salmon Mark Wallis Murray-Smith USA non-profit organisation that Charbonnel et Walker John & Kate Corcoran Amanda Nevill CBE supports the work of the BFI in Christie Digital Alison Cornwell Lundi Nyoni the UK and the USA. Corinthia Hotel London GOVERNMENT ANNUAL DONORS Charitable Fund ** DIRECTORS CUT Cley Crouch Si Overson Digital Cinema Media The Department for Culture, Blavatnik Family Foundation ** Oliver & Sabine Schusser PATRONS Carl Dalby Lucinda Patridge-Hicks **Donations marked with double Dolby Media & Sport British Board of Film Martin Scorsese Eric Abraham Simon & Jane Davis Charlotte Peters asterisk were made possible by Drambuie The Department for Classification Worshipful Company Ingrid A. Beazley Matthew Dean Sir Brian & Lady Pomeroy The Friends of the British Film Gran Clos Education Felicia & James Brocklebank of Shipwrights Enrico & Cristiana Cavallo Jon Dear Anthony Pozner Institute. Green & Black’s Organic The Chapman The Charles Skey Amanda Eliasch Paul Dennis Paul Price Heineken® THE FRIENDS Charitable Trust Charitable Trust David Giampaolo Stephan Dilley Damien Read CORPORATE The Hospital Club OF THE BRITISH The John S Cohen Foundation Matt Spick Natalia M. Gorz Catherine Dougherty Phillip Reeves PARTNERS Jo Loves FILM INSTITUTE* Europa Cinemas Paul & Natalie Sutherland Keith Haviland Louis Elson John Reiss Accenture Konditor & Cook BOARD Hani Farsi Taipei Representative Office Lisbet Rausing & Gavin Essex Sarah & Philip Richards American Express® M.A.C Cosmetics OF DIRECTORS The Mohamed S. Farsi Peter Baldwin Susan & Robert Evans Sue & Tony Rosner Corbis Entertainment Maserati 2015–2016 Foundation And with additional thanks to Anastasia Evko Charles & Susan Rusbasan Corniche Pictures Neuschwansteiner Beer Amanda Nevill CBE, Chair Anne-Christine Farstad our anonymous annual donors. EPIC PATRONS Jeff & Emily Fergus Ruth Saleh Deluxe Piper-Heidsieck Champagne Barbara Broccoli OBE The Film Foundation Simeon Brown Paola Ferretti-Johnson Michael & Gail Sandler DJI Sotheby’s Terry Gilliam The Film Music Foundation ** FILM FOREVER Eric Fellner CBE Joachim Fleury Lisbeth Savill Giorgio Armani Swarovski Colin Walsh The Edwin Fox Foundation CLUB Daniel & Joanna Friel Peter & Judith Foy Joana Schliemann Interbank LGBT Forum TV5 Monde Simon W. Hessel Donald & Corrine Brydon Isabelle Georgeaux Paul Gambaccini Jim & Linda Scholes IWC Schaffhausen Vanity Fair MAJOR DONORS The Hintze Family Peter Dubens Lynn M. Lewis Lizie Gower Nick Scudamore The May Fair Hotel The Eric Anker-Petersen Charitable Foundation Greg Dyke & Sue Howes Mala Manku Claude Green Angela Seay O2 Charity The London School of The Fox Family Tim & Sylvie Richards Kathryn Greig Mark & Lee Shanker ** Plusnet Arts Council England English/Londonschool Trust The Hintze Family Dr. Brad Sellers & Louis Greig Joanne Smith Renault Esmée Fairbairn Foundation London Topographical Charitable Foundation Mr. Kyle Delp ** Dr Michael J. Hamlyn Stephen Sorrell Royal Bank of Canada The Friends of the British Society John & Jennifer McLellan The Stuart and Hilary David Hanson Nicola Stanhope Shell Film Institute * The Paul Mellon Centre Ian & Beth Mill Williams Foundation Lisa Harding Marilyn Stary Sky Movies The David Lean Foundation for Studies in British Art Col & Karen Needham Andy Harkin Gregory Stone & Virgin Atlantic Wellcome Trust The Louis B. Mayer Joyce Reuben CLASSIC Derek & Maureen Harte Annabel Scarfe Warner Bros. Entertainment Foundation Betsy & Jack Ryan ** PATRONS Simon & Cat Heale Danielle Summers And with additional thanks to Charles Morgan Sir Howard & Lady Stringer Stefan Allesch-Taylor Duncan Hopper David & Jan Thomas our anonymous major donors. Col & Karen Needham Peter & Nancy Thompson Wayne Anderson Rachael Horsley Andrew Tseng PRS for Music Foundation Claire Arnold Russell Howard Viewtorch Pictures Pure Land Foundation And with additional thanks to Paul Ashurst Valentina Jacome Colin Walsh & David Ederick The Radcliffe Trust our anonymous Film Forever Lady Bacardi Fady Jameel Tim Warmath & Ed Comber The Reuben Foundation Club members. Donna Banks Alexandra Joffe Louise L. Whitewright The Rose Foundation Charlotte Bannister-Parker Linda & Spencer Kahan Richard & Astrid Wolman The Adam S Rubinson Francis Bennett Nicola Kerr Andrea Wong **

54 55 BFI INCOME & EXPENDITURE 2015 –16

BFI GRANT-IN-AID, EARNED INCOME BFI AS A FUNDER BFI EXCLUDING LOTTERY & BFI AS A FUNDER AND PHILANTHROPY INCOME 2015–16* RING-FENCED GRANT IN AID EXPENDITURE 2015–16 INCOME 2015–16* EXPENDITURE 2015–16 £40m £60.2m £49.7m* £48.2m

4% 13% 12% 5% 13% 11%

11% 50% 30% 59%

37% 65% 88% 2%

EDUCATION, LEARNING & AUDIENCES £29.5m GRANT-IN-AID – REVENUE & CAPITAL FUNDING £14.9m SUPPORTING BRITISH FILM £0.7m EDUCATION, LEARNING & AUDIENCES £5.1m SELF-GENERATED INCOME – CHARITABLE ACTIVITIES, INCLUDING TICKET FILM HERITAGE £15.09m SUPPORTING BRITISH FILM £31.3m SALES, DVD SALES AND FILM DISTRIBUTION £19.8m LOTTERY INCOME £52.8m CAPITAL EXPENDITURE £2.6m FILM HERITAGE £5.3m SELF-GENERATED INCOME – OTHER GRANTS & DONATIONS £5.3m GRANT-IN-AID – RING-FENCED AWARDS £7.4m COST OF DELIVERY £1.8m COST OF DELIVERY £6.5m

* Total reported income of £100.1m includes £52.8m of lottery income and £7.4m of ring-fenced Grant-in-aid. *Excluding fixed asset depreciation and amortisation.

56 57 Supported by

59 I am Belfast (Mark Cousins, 2015) 21 Stephen Street London W1T 1LN @bfi bfi.org.uk