U.K. film industry in 2024: “Once more unto the breach, dear friends...”
The recent article by Mona Tabbara in Screen International, titled "Seven talking points for the UK film industry in 2024," offers a comprehensive analysis of the present and future landscape of the UK film industry.
Despite the challenges outlined in these key points, there remains a silver lining of implications for the U.K.'s thriving film industry.
Independent Sector Spotlight: The UK government's Culture, Media and Sport (CMS) Committee is gathering evidence from the independent film sector, which faced challenges in 2023 due to the Hollywood strikes. There's a strong push for enhanced 35-45% tax credits for independent productions, with various bodies like Pact, BFI, and Screen Scotland proposing different models to support films with lower budgets or those truly independent. Films with budgets of £1m-£15m. This reflects an industry-wide effort to bolster the UK’s independent film sector amidst global competition, especially from US studios.
Counterpoints: CMS and industry leaders again cite excuses for a dismal year, this time based on the industry strikes, claiming “it could have been a busy period for UK independent film production…” They also highlight a significant issue: thousands of crew members were left jobless, underscoring the UK industry's dependency on the unpredictable US market.
The tax credits proposed by the Producers’ Collective UK (130 producers, funders, trade bodies and studios) is commendable as it encourages more production, particularly benefiting international co-productions and entities such as the BFI, Film4, BBC Film, Creative UK, Screen Scotland, Paramount, the Screen Alliance North, and Warner Bros Discovery, along with their associated partners.
However, while these incentives are beneficial for the 'indie' film sector, they don't directly address the broader infrastructural needs that could substantially influence the film industry and local economies. There's a pressing need to reinvent our creative industries from the ground up, focusing on aiding individuals, companies, and organizations at the lower end of the spectrum with funding and resources. Importantly, this support must be accessible without restrictive barriers such as revenue requirements, existing partnerships, or other attachments (funding and talent).
The lack of support for low-budget projects due to systemic hurdles is glaring. This is evident in the concerns voiced by local filmmakers at networking events, highlighting the need for a more inclusive and supportive approach to nurture grassroots talent and projects in the UK film industry.
Post-Strike Production Dynamics: The end of Hollywood strikes signifies potential production resumption around April 2024. However, the industry faces challenges such as the loss of experienced crew and the high bidding power of US studios for talent and resources. The Skills Task Force's recommendations for skills development are crucial but may not address immediate needs, highlighting the sector's vulnerability and the importance of strategic workforce planning.
Counterpoints: Developing a robust infrastructure in the creative industries will not only generate sustained employment for talent and crew but also invigorate local economies through the utilisation of regional goods and services. This contrasts with the current trend in high-end productions and studio projects, which often rely on the same set of vendors rather than supporting local businesses.
Take, for instance, the Los Angeles film industry in the U.S., which has reduced tax incentives to projects with budgets of $1 million and above. This policy primarily benefits productions and companies linked to major studios and companies, many of which involve A-list Hollywood talent. However, such measures have had limited impact on boosting the struggling economy or providing employment to those in dire need of work.
Furthermore, it's crucial to ensure that our trained and educated workforce is not just learning but actively working and accumulating professional credits. This practical experience is essential for career advancement. Without real opportunities to apply their skills, the training and education provided to these individuals lose their value. The goal should be to create an ecosystem that not only educates but also empowers and employs, ensuring a thriving, sustainable creative industry. This necessitates greater accountability and fairness in hiring processes, ensuring the elimination of biases and prejudices, irrespective of their age, location, race, gender, experience, disability, or other personal attributes.
The 2023 review by North East Screen, depicted below, reveals a critical insight: the number of paid trainee positions on productions falls short of achieving equality (1:1 ratio), particularly when considering the total volume of productions supported by the region. This discrepancy indicates a need for a more balanced approach to training and employment opportunities in the industry.
New Body for Industry Accountability: The upcoming launch of the government-backed CIISA aims to address bullying and harassment in the creative industries. This move, spurred by serious allegations in the industry, signifies a critical step towards a safer and more accountable working environment.
Counterpoints: The CIISA, backed by the UK government to address bullying and harassment in the creative industries, positions itself as a "Standards Authority for the Creative Industries." However, its scope seems limited, primarily addressing workplace bullying and harassment. At the Focus 2023 conference in London, when inquiring about broader harassment issues like biased hiring practices, CIISA's recommendation to consult ACAS highlighted a gap in the industry's regulatory framework. ACAS, while relevant, appears to have a limited influence on industry-wide standards.
Currently, the UK lacks a comprehensive organisation capable of imposing significant sanctions for various indiscretions across the creative sectors. This shortfall is notable in the way artists, creatives, filmmakers, and behind-the-scenes workers that are employed and/or seek employment.
In the education sector, the Office of the Independent Adjudicator (OIA) serves as a standards body, evaluating cases and providing recommendations to institutions. However, it lacks the authority to impose substantial sanctions, leaving civil courts as the only recourse for grievances like discrimination or misrepresentation.
To bring about meaningful change in the industry, a more impactful approach is needed, targeting financial consequences. This could involve imposing fines for equality violations and sanctions by industry organisations and unions, such as employment restrictions on companies for specified periods. Such measures could act as a deterrent and encourage better compliance with fair practices.
Additionally, these standards should extend to hiring processes and the allocation of opportunities (funding and resources) by publicly-funded organizations. It's not enough to simply call for action; there must be tangible accountability and inclusion measures in place. By targeting the 'pocketbooks' of the industry and enforcing financial penalties for non-compliance, there can be a stronger push towards equitable and fair practices in the creative industries.
Cinemas Facing Challenges: The UK cinema sector, particularly the independent cinemas, is bracing for a tough year ahead with financial strains and a thinner slate of major film releases. The closures of major chains and financial struggles of independent cinemas underscore the sector's volatility and the need for innovative approaches to cinema experience, as seen in the expansions of Omniplex, Vue, and Everyman.
Counterpoints: In 2024, despite the dominance of blockbusters, cinemas have the opportunity to enrich their offerings with a diverse library of independent films fresh from successful festival circuits. Notable titles like “Priscilla”, “Memory”, “All of Us Strangers”, “Occupied City”, “Love Lies Bleeding”, “Nosferatu”, and “Emmanuelle” are prime examples. The crucial question, however, is the level of commitment cinemas will invest in integrating these films into their business models.
The challenge for many cinema venues lies in adapting to the evolving preferences of their audiences. This adaptation isn't just about the films they screen; it involves embracing a more holistic approach to community engagement. Cinemas need to consider programming that reflects local culture and geography, which can resonate more deeply with their audience base. Additionally, they should actively pursue partnerships with local businesses, creating symbiotic relationships that benefit both the cinema and the local economy. Such partnerships can also lead to innovative brand exposure through social interactions and community events.
Take, for instance, the recent National Cinema Day in the U.K. The event saw only a handful of cinemas showcasing national content, whether contemporary or classic. This seems like a missed opportunity, considering the relative ease of organizing such screenings. Classic British films like “Notting Hill” or “Love Actually” could easily be featured. Most distributors are likely to welcome the chance for additional exposure and profits. Such initiatives not only celebrate national cinema but also create a sense of community and local pride.
In essence, for cinemas to stay relevant and thrive, they need to look beyond just the mainstream offerings and delve into creating a more inclusive and locally resonant experience. This means not only screening a variety of films, including independent and local content but also actively engaging with the community to create a more dynamic and culturally rich cinema experience.
Distribution Upheaval: The sale of eOne’s film and TV business and Pathe’s shift in focus reflect changing dynamics in film distribution, particularly for films targeting older audiences. This could lead to more consolidation among independent distributors and raises questions about who will cater to these audiences.
Counterpoints: While these developments indicate a lack of sustainability in theatrical distribution, a critical aspect that needs addressing is the support for globalised content in the U.K. market. The current system, dominated by studios, high-end distributors, and regulatory bodies like the BBFC, often limits the range of films screened in cinemas due to availability issues and the costs associated with ratings certifications. This limitation can restrict the diversity of content available to U.K. audiences and may hinder the exposure of international films.
The focus should, therefore, expand to facilitate easier access for global content into the region. This includes streamlining certification processes, reducing costs for international filmmakers, and encouraging distributors to broaden their portfolios beyond local or mainstream content. By doing so, cinemas can offer a more diverse range of films, catering to varied audience tastes and promoting cultural exchange.
Moreover, the shift towards more localised content, while beneficial for domestic filmmakers, shouldn't come at the expense of international cinema. The U.K. audience is increasingly global in its outlook and preferences, and the film distribution model needs to reflect this. Supporting a diverse range of content, both local and international, can enrich the U.K.'s film landscape, offering audiences a more comprehensive cinematic experience and fostering a more inclusive film culture.
The evolving landscape in film distribution, highlighted by recent changes, suggests a bright outlook for UK-centric films. However, it's essential to complement this by bolstering support for global content. Such a balanced approach would contribute to a more diverse and inclusive UK film industry, satisfying a broader spectrum of audience preferences and fostering a more expansive cultural conversation through cinema.
Leadership Changes in Festivals: New leadership at major UK film festivals like the BFI London Film Festival and Edinburgh International Film Festival indicates a period of transition and potential new directions for these key cultural events.
Counterpoints: While these leadership changes present opportunities for innovation, there is an urgent need for these festivals to expand their inclusivity and global reach. Traditionally, film festivals have been pivotal in showcasing a diverse range of content, including works outside the mainstream studio system. However, there is a growing necessity for these festivals to actively engage with broader communities and cater to more globalised content.
Festivals should strive to include films that represent a wider array of cultural perspectives, particularly from filmmakers who are not backed by major distributors. This approach can provide a platform for underrepresented voices in cinema, fostering a more inclusive and varied festival experience. Additionally, by engaging more deeply with local communities, festivals can enhance their relevance and appeal, turning them into cultural hubs that reflect the diverse interests and backgrounds of their audiences.
Incorporating more community engagement initiatives, such as workshops, panel discussions, and collaborations with local artists and cultural organisations, can enrich the festival experience. These initiatives should not only focus on film screenings but also on creating a dialogue between filmmakers, industry professionals, the audience, and industries outside of the creative sectors. This approach will not only broaden the festivals’ appeal but also contribute to the cultural and artistic enrichment of the communities they serve.
To summarise, the new leadership at UK film festivals brings an opportunity to reimagine these events as more inclusive and globally oriented platforms. By focusing on diverse, globalised content and deeper community engagement, these festivals can play a crucial role in nurturing a rich, diverse, and dynamic film culture.
BFI Filmmaking Fund’s Restructured Approach: The Filmmaking Fund's team reshuffle and decreased funding from £25m to £18m per year indicate a more focused strategy towards films with significant UK cultural impact. This shift might affect the types and scales of projects that receive support, emphasizing cultural relevance over commercial viability.
Counterpoints: While the BFI Filmmaking Fund’s revamped strategy is a step forward, there is an essential need for a more robust film industry infrastructure that specifically supports those working on low-budget projects. These filmmakers and writers, often at the early stages of their careers, require not just funding but also access to resources and mentorship opportunities. The current funding model, with its reduced budget, may not sufficiently cater to this segment of the industry, which is crucial for fostering new talent and diverse voices. This also comes after the recent March 2023 announcement, “The fund has £36.6 million ($44.8 million) available over three years for fiction feature films and a further £17.4 million ($21.3 million) to support documentary, shorts, talent development and immersive projects.”
Moreover, there's a pressing need for greater accountability and transparency in how the National Lottery funds, administered by the BFI, are allocated. This accountability is crucial to ensure that these funds are equitably distributed and accessible to a broader range of filmmakers, including those from underrepresented backgrounds. Such an approach would contribute to a more inclusive and diverse UK film industry.
The issue of supporting low-budget filmmakers and ensuring equitable fund distribution was notably absent in discussions by Vue CEO and BFI Chair Tim Richards at this year's British Screen Forum Conference in London. Addressing this gap is vital for the development of a more inclusive industry that nurtures a wider variety of cinematic voices and experiences, including immersive and innovative storytelling methods.
The BFI Filmmaking Fund's strategic shift and budget revision open avenues for producing impactful cinema. However, it's imperative to bolster support for low-budget filmmakers, ensuring a fair and transparent allocation of funds. Implementing these measures is essential for nurturing emerging talents and fostering a more vibrant, diverse film culture within the UK.
Overall, the UK film industry in 2024 appears to be at a crossroads, facing challenges from financial strains, competition, and internal restructuring, but also presenting opportunities for growth and innovation, particularly in independent cinema and addressing industry-wide issues like workforce development and harassment. The industry's ability to adapt to these changes will be crucial for its future success.
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