OUR The BFI serves a public role which covers the cultural, creative and MISSION economic aspects of film in the UK. & VA LUES Founded in 1933, the BFI is a registered BFI2022 builds on the foundations In carrying out our duties, charity governed by Royal Charter. laid by Film Forever, to create the we undertake to: Under the Royal Charter, the BFI has conditions for a vibrant, national five objectives: film culture in which independent – Consider the views of the industry, film is widely enjoyed as part of a our audiences and our partners – To encourage the development of thriving and diverse UK film industry, – Be efficient, effective and accessible the arts of film, television and the equipped to meet the rapid changes – Be honest, open and accountable moving image throughout the UK in the film landscape. for our actions – To promote their use as a record of – Provide clear and appropriate contemporary life and manners Investing almost £500 million from 2017–2022 (made up of Government information, guidance and feedback – To promote education about film, Grant-in-Aid, BFI earned income and – Share and learn best practice in order television and the moving image National Lottery funding), BFI2022 to continually improve the services generally and their impact on society outlines how the BFI will continue on offer. – To promote access to and appreciation to focus on audiences and culture, of the widest possible range of British supporting film education and skills and world cinema development, and backing exciting – To establish, care for and develop new filmmaking. collections reflecting the moving image history and heritage of the UK. The strategy has four key priority areas: The BFI is the distributor of National – Future audiences Lottery funds for film. – Future learning and skills – Future talent – Leadership It is underpinned by a wider interpretation of film to embrace new forms, a sustained commitment to diversity and inclusion, and creating more opportunity for everyone across Front cover: Been So Long (Tinge Krishnan, 2108) the whole of the UK. This page: The Adventures of Prince Achmed (Lotte Reineger, 1926) 2 3 CONTENTS UK-WIDE ACTIVITIES SOME KEY PAGE 34 BFI-BACKED TITLES PAGE 44 FUTURE LEARNING & SKILLS SUPPORTING FUTURE PAGE 36 FILMMAKING TALENT PAGE 48 FUTURE TALENT PAGE 42 ON THE INTERNATIONAL STAGE PAGE 50 55 8 FOREWORD WORKING PUBLIC POLICY, PAGE 4 WITH PARTNERS LEADERSHIP ACROSS THE UK & ADVOCACY FUTURE AUDIENCES PAGE 26 PAGE 52 PAGE 8 BFI DIGITAL FUNDRAISING FESTIVALS PAGE 28 & PHILANTHROPY PAGE 16 PAGE 58 MOVING IMAGE THE BFI CULTURAL HERITAGE BFI INCOME PROGRAMME PAGE 30 & EXPENDITURE PAGE 20 PAGE 62 4 16 58 5 FOREWORD This annual report covers the first all our platforms and with partners It has been rewarding this year to growing economic benefit for the UK. Following the revelations of high profile After several years of extensive year in our new strategy BFI2022. across the world. Examples of such see so many National Lottery-backed Nevertheless, we identified in BFI2022 a instances of sexual abuse and bullying preparation, we were proud to launch It is a strategy designed to build on programmes have included a tie-in filmmakers being recognised for their concern for the future competitiveness in the industry, we led on an immediate the largest public searchable, interactive the strengths of Film Forever, and was with the national celebration of India, a work. This includes outstanding debuts and creative value of British independent response in partnership with BAFTA and database dedicated to British feature shaped by all that we have heard during much-fêted exploration of the work of by Rungano Nyoni (I Am Not A Witch, filmmaking in this fast evolving and the Cinema and Television Benevolent films released in the UK. The BFI our UK-wide consultation. Ingmar Bergman, and a nationwide look 2017), Francis Lee (God’s Own Country, complex digital arena, where traditional Fund (CTBF) to create a set of principles Filmography includes over 100 years at ‘Thriller’ as a genre on the big and 2017) and William Oldroyd and Alice business models are in constant flux. against bullying and harassment which of data on the nearly 10,000 film titles BFI2022 supports the fast-evolving small screen. One of the strengths of the Birch (Lady Macbeth, 2017) winning We have responded and, as promised, were adopted by over 40 film-related (growing weekly) released. Looking at technological creative arena and new BFI cultural programme is its inventive awards at the BIFAs and BAFTAs, along launched a bespoke commission, headed organisations and embedded in our the gender data reflected in the database post-referendum opportunities and capability of accenting inclusion and with Lynne Ramsay achieving great by Zygi Kamasa, CEO of Lionsgate UK Diversity Standards. We also introduced revealed some stark and uncomfortable challenges. Its focus is on a wider diversity. Examples included a year- acclaim in Cannes for her prize-winning and Europe, with members from across clear, reportable targets for inclusion realities about the scale of change interpretation of film to cover new forms; long focus on re-positioning the role You Were Never Really Here (2017) the value chain. The commission will across key activities. Ensuring that needed. The data is also a rich source a sustained commitment to diversity; of women in the history of film, and a report later in 2018. education to tackle these issues is of material for policy makers seeking and new initiatives that devolve more much talked about celebration of the It has been a bumper year for film available from an early age, we were glad to understand the value and impact of decision-making and funding to create Woodfall films with their focus on overall in the UK, with production in Diversity and inclusion are at the heart to enlist the expertise of our partner Into policy interventions. We are the first greater opportunity across the English working class heroes. 2017 reaching a new high of £1.9 billion. of our strategy, with the desire to create Film who now reach almost 9,000 schools country in Europe (possibly the world) regions and the Nations. It is important to recognise the winning new opportunities for thousands of through their film clubs and many more to have this level of data about our own We have adapted our funding criteria to combination of a competitive fiscal individuals from all backgrounds. through their social media activity. indigenous industry. BFI2022 is arranged in four sections: support work across different platforms, environment provided through the UK This is a key commitment in BFI2022 future audiences, future learning and encouraging creative filmmaking that film tax incentive, the excellence of craft and we have launched Future Film Skills: skills, future talent, and leadership, and expands the possibilities of storytelling and crew, professional expertise in our A 10 point action plan to address emerging steady progress has been made against and form. As part of our expanding infrastructure, and the pure exhilaration skills shortages and make it easier for all the pledges. BFI NETWORK, we have appointed six of UK creative innovation. people to enter the industry. We were talent development executives across delighted to award a significant five-year Future-proofing a creative endeavour England who will provide greater access All of this, with the essential service contract to Creative Skillset to deliver depends on bringing through the next and support for talented emerging support from many of our partner this very important, industry-backed generation, a generation that is confident filmmakers in key cultural film agencies such as the British Film skills strategy to help future-proof and knowledgeable and inspired by its hubs through the BFI Film Audience Commission and Creative England continued growth in the UK’s flourishing cultural foundations. This year, the Network. Their work will complement and the national agencies who look film sector. BFI has bristled with globally inspired programmes already established in after production services, is a winning programmes of film, delivered across Scotland, Wales and Northern Ireland. combination that reaps massive and A Fantastic Woman (Sebastián Lelio, 2017) 6 7 The challenges and opportunities of The Government’s announcement of radically about the future, how we leaving the European Union, alongside its industrial strategy, with the creative can continue to present the ambition the launch of the Government’s industries selected for an ‘early sector we have for film and the wider moving industrial strategy, have dominated deal’, was a vote of confidence in the image, and how we can position our policy and advocacy work during ability of creative businesses to drive ourselves financially to better support the year. The BFI continues to draw economic growth and create jobs across the wider screen environment heralded on the expertise of the Screen Sector the UK. Through our membership of in our strategy. Taskforce – a cross industry group that the Creative Industries Council and we convened to examine the economic the Creative Industries Federation we This is an important moment to and cultural impact of leaving the EU. have worked hard to ensure that new recognise the amazing and dedicated The Taskforce is working closely with measures to support the success story work of our staff whose depth of Government to ensure the best possible of UK film were reflected in this expertise, curiosity to learn and outcome for the UK screen sector. Of important strategy. commitment to sharing their love of equal importance is the strength of film is the real power behind the BFI. our networks in Europe and beyond We look forward to 2018-19 with a They are, of course, led by a highly and much energy has been committed Comprehensive Spending Review knowledgeable and committed Board of to maintaining our presence in key that allows us to present a fresh and Governors who bring support, guidance European forums.