A Year in Review 2023

2023 marked our 20th anniversary as a charity, giving us pause to reflect on the progress made in gender equity in cinema in that time, and the progress we are working towards. 

  Tracking gender equity in cinemas 

And #ReclaimTheFrame still we must, given the disproportionate number of films that are still made by cis men along with the fall in films by people of marginalised genders in the last couple of years. Following the drop in UK theatrical film releases by marginalised gender filmmakers to 24% last year (the same as 2018) or 155 out of 582 films written and/or directed by women (including co-credits of at least 50%), the figure rose to 27% this year (the same as 2019). There has thus not been any consistent progress since we started tracking UK releases back in 2017, and before we can begin to consider the annual share to be meaningful, it needs to exceed the all-time high of 30% in 2021. It’s a similar pattern with films written by marginalised genders which is around the same level as five years ago. Positively, after three years of directors of marginalised genders accounting for 20% of UK releases, this figure has risen, incrementally, to 21%.

When we look at the percentage of UK releases directed by Black, indigenous and people of colour filmmakers of marginalised genders, whilst, unfortunately, the figure remains small, it has increased over the last three years from 4% in 2021 to 6.1% in 2022, and then down slightly to 5.7% this year. Unfortunately, for BIPOC writers of marginalised genders, the figure is moving in the opposite direction, down to around 5% in the last two years after the all-time high of 6.7% in 2021.

Mindful of our responsibility as an intersectional feminist and anti-patriarchal organisation in taking a less binary and more inclusive approach, from hereon in we commit to also track the number of films theatrically released in the UK by openly trans filmmakers: this year only one. Further to this, we have this year begun a piece of work around trans allyship, starting with an industry round table which took place during the London Film Festival, in partnership with Women & Hollywood and the BFI’s Inclusion team, and bringing in expertise from Trans on Screen. 

In addition, we have now begun to track the longer trajectory of UK film releases starting with debuts by women / non-binary persons which accounted for 43% or 53 films this year. 

The boom in (particularly female led and particularly British) debuts from 2022 and 2023 has been well documented, including Reclaim The Frame supported titles BLUE JEAN, RYE LANE and HOW TO HAVE SEX. This recognition of a new wave of female talent – as reflected in last year’s BAFTA nominations and this year’s BIFA nominations - is an exciting moment. Yet, as we’ve commented recently in Screen International and on BBC Front Row, it does beg the question as to what support will be available for this current wave of talent further down the line, as they attempt to make a second or third feature. 

So, what have we been doing this past year at Reclaim The Frame? 

As part of our mission to bring a broader perspective of the world through cinema, Reclaim The Frame has over the course of 2023 supported 25 films – 23 new releases and 2 repertory titles - working with 15 distributors and 40 cinemas across the UK, as well as festivals that included Edinburgh International Film Festival and Queer East. All titles were written and / or directed by filmmakers of marginalised genders, and 42% by Black and women of colour writers/directors, 25% by openly LGBTQI+ writers/directors, and 4% trans and 4% non-binary writers/directors. 50% of the films we supported were debut features.

Audiences

With over 100 live events and 100+ events with pre-recorded content across the UK, we continued – and continue -  to build community and engage audiences. We survey audiences at most events and are grateful for the feedback we receive and continue to learn from: 93% of audiences this year rated the films they saw as 5/5 or 4/5 and 91% rated their overall experience as 5/5 or 4/5. 93% who do not usually attend film events felt included, and 93% said they were very likely or likely to recommend Reclaim The Frame to a friend.

We continue to reach an increasingly diverse audience – this year exceeding / seeing growth in our own targets: 38% aged under 30, 32% identifying as BIPOC, 39% as LGBTQI+ (incl 4% as QTIPOC), 31% as Deaf and disabled, 21% disadvantaged. 67% of our audiences identify as women, 27% as men, 5% as non-binary and 3% as a different gender to that assigned at birth. We began tracking the number of working class audiences over the past 6 months, as defined by BFI, which came to 12%, a figure we’re working to grow. 33% represent new audiences for the cinemas we work with and 11% hadn’t been to the venue in question over the past year.

Access Aspirations

We stepped up our commitment to cinema access in 2023, working to standardise access provisions and increase the number of accessible events overall: this year, two-thirds of our events were screened with descriptive subtitles, and all descriptive subtitled events that had post-screening discussions were live captioned as part of an increasingly holistic approach to accessibility. This work is all the more urgent given the high proportion of audiences with access needs attending our events in recent months, as noted above.

Next year we aim to continue improving and expanding our access provision. Through our recent fundraising efforts, these goals have become more attainable: thank you to everyone who contributed to our Big Give-supported #ReclaimTheFrameForAll campaign earlier this year and helped us to reach 100% of our target towards our access initiatives. 

In 2023, we began consulting those with lived experience and expertise in hosting relaxed screenings to learn how we can best provide these screenings. We have begun embedding a relaxed approach for our events so our audiences feel safe and comfortable enough to move around and leave the space if needed. We have been working with partner venues to provide quiet spaces at events for our audiences to use at any time. For our recent title, IS THERE ANYBODY OUT THERE?, all screenings had dim lighting and slightly reduced volume. We will continue working collaboratively on providing relaxed screenings in 2024. 

Reclaim The Frame in the UK and beyond

One of our openly publicised priorities and another strategy to increase equality and inclusion has centred on developing the impact of what we do in the nations and regions: over the last 18 months we have devolved the campaign through the recruitment of 8 Regional Impact Producers – including two new appointments in Belfast and Birmingham - and in the last six months 69% of our audiences were based outside London and the South-East, up from 52% in the previous year. 

Along with a greater focus on developing the campaign regionally we have also been spreading our wings internationally with the completion this Spring of our Reclaim The Frame x International project, circulating titles from Lebanon, Taiwan, Tunisia, Turkey and the UK to, and in partnership with, women’s film festivals across Asia and North Africa, supported by the British Council. Our partnership with Flying Broom International Women’s Film Festival continued with a curated selection of UK titles to Ankara in Turkiye last month. 

Training Programmes

Back in the UK, we continue to support the pipeline of marginalised gender filmmaker talent through our annual Filmonomics training programme and are thrilled to see our alumni continue to achieve the success that they deserve.This year Rachel Ramsay from our 2022 edition premiered her debut documentary COPA ’71 at Toronto International Film Festival while previous alumni Nour Wazzi’s film LOCKED IN landed the number one spot on Netflix's Global Top 10. Just last week we announced the cohort, and speakers, for our 8th edition, supported by ScreenSkills Film Skills Fund, which started this week and runs through until next March. The eighteen talented writers, directors and producers based across the UK were selected from a record number of applications and our most geographically diverse to date. 

Filmmakers, please do keep your eyes peeled for news of more continued professional development initiatives opening next year. 

The State of the Industry 

All of our achievements in 2023 would not be possible without partnerships and collaborations, and the ongoing process of listening, learning and unlearning. And it would be remiss of us not to acknowledge the context in which we and our partners are operating: according to a recent Independent Cinema Office report, 42% of venues said they can only continue to operate within the current climate for between three months to a year. In the spirit of the season of giving, we have made a donation to Film & TV Charity’s The Strikes May Be Over, The Emergency Is Not campaign and encourage those who can to the same by following the links. 

The post-Covid impact of changes to operating models, shifts in audience behaviour and the rise of online streaming, along with the economic challenges of reduced availability of public funding, a cost-of-living crisis, and a rise in energy prices, have all heavily impacted the independent cinema sector. So too has the rise in human rights violations and discriminations against a range of minority groups in our community, and government impingements on our rights to peaceful protest and to freedom of speech. The independent cinema sector needs support because of the turbulent times we live in, and because of the power of film to tell stories, which amplify voices, foster understanding, heal, and imagine a freer world for all.

Reclaim the Frame with us

For now, we invite you to join us in celebrating the release of Savanah Leaf’s powerful EARTH MAMA in cinemas across the UK right now, together with a #ReclaimTheFrame recorded Q&A with the #BIFA2023 winning director. 

We’ll be welcoming in the New Year by joining the party celebrating the release of YOUR FAT FRIEND – marking UK documentary filmmaker Jeanie Finlay’s 11th feature. 

Reclaim The Frame builds community but it is also part of one: and my thanks go first and foremost to Reclaim The Frame’s dedicated team, and to our Trustees, distributor partners, venue partners, community of collaborators and to the BFI Audience Fund who renewed their commitment to our work, 2023-2026. 

Wishing a happy holidays to all of our audiences, advocates and allies, and we hope to see you in a cinema venue sometime soon.   

In solidarity, 

Melanie

As always, to find out about our latest news, events and opportunities, and to spread the word, please do sign up to our newsletter as an Advocate here, and follow us on social media at @ReclaimTheFrame on Facebook, Instagram, Twitter and YouTube.

Unveiling our FILMONOMICS 8 Cohort 2023-24

The now well-established continuing professional development programme welcomes eighteen talented filmmakers from across England, Northern Ireland, Scotland and Wales as part of our 8th edition of Filmonomics.

Funded by ScreenSkills Film Skills Fund with contributions from UK film productions, the now well-established continuing professional development programme welcomes eighteen talented filmmakers from across England, Northern Ireland, Scotland and Wales as part of Reclaim The Frame’s 8th edition of Filmonomics.

Recruited through an open call for applications, and each in development, production or post with their debut feature, the participants for Filmonomics 8 are:

L-R Top row: Amit Kaur (Writer/Director), Amy Coop (Writer/Director), Carina Haouchine (Director), Carys Lewis (Writer/Director), Em J. Gilbertson (Writer/Director), Isa Rao (Director)

L-R Middle row: Jessica Bishopp (Director), Juliana Kasumu (Director), Kelly Holmes (Writer/Director), Laura McBride (Producer), Lotus Hannon (Writer/Director), Maja Bodenstein (Writer)

L-R Bottom row: Natalie Hewit (Director/Producer), Noemie Nakai (Writer/Director), Sarudzayi Marufu (Producer), Solene Guichard (Writer/Director), Seemab Gul (Writer/Director/Producer), Tracy Spottiswoode (Writer/Director)

The projects selected include a mix of fiction and documentary. Between the participants, they bring successes in short films and experience in working in film and television more broadly, with some bringing additional expertise including animation, art installation, photography, radio, theatre, web series, VR, and XR. Two-thirds are based outside of London, with one-third based in Northern Ireland, Scotland, Wales.

The training course brings the cohort together over four months, starting 12 December 2023 and culminating in a trip to Glasgow Film Festival in March 2024, involving a mix of industry panels, roundtables, group coaching and networking with the aim of bridging the gap between development and distribution.

The course will be led by Melanie Iredale (Reclaim The Frame Director) and Simone Glover (Training Manager), together with a stellar line-up of mentors and speakers, including Filmonomics alumnae. Those secured to speak on topics ranging from routes to finance through to reaching audiences include representatives from Bankside, BFI, Doc Society, Dogwoof, Cornerstone Films, Film4, MUBI, Sara Putt Associates, and Signature Entertainment, among others.

Speakers so far include:

Top Row L-R

Alison Thompson Co-President at Cornerstone Films / Allison Gardner CEO at Glasgow Film/ Ama Ampadu Senior production and Development Exec at Film Fund BFI / Amy O’Hara Development & Production Executive at Film4 / Ana Santos Head of Legal at Bankside

2nd Row L-R

Annette Corbett Leadership Coach / Cate Kane Co-Director of Global Acquisitions at MUBI / Delphine Lievens Distribution Consultant, Box Office Analyst / Droo Padhiar Head of Marketing at Dogwoof / Farhana Bhula Head of Creative at Film4

3rd Row L-R

Hannah Bush Bailey Film & Production Executive at BFI Doc Society / Julia Short Trainer/Consultant / Kate Leys Script & Story Editor / Lisa White Business Development and Finance Executive / Lucy Jones Executive Director at Comscore Movies

4th Row L-R

Mia Bays Director of BFI Film Fund / Prano Bailey-Bond Filmmaker / (Wri/Dir) Censor / Paul Sng Filmmaker / (Dir) Poly Styrene: I Am a Cliché, Tish / Rachel Ramsay Filmmaker / (Dir) Copa ‘71 / Sara Putt MD/Agent at Sara Putt Associates / Chair of BAFTA

Bottom Row L-R

Shanida Scotland Director at Doc Society / Sophie Doherty Head of Theatrical Film at Signature Entertainment / Stephen Follows Film Industry Analyst / Suzanne Alizart Business Affairs Exec at Doc Society / Vicki Brown Senior Executive for Sales and Distribution at BFI

Filmonomics filmmaker bios:

Amit Kaur (She/her) Writer/Director:

Amit is an international filmmaker and director of the BFI-funded short “Cuppa Chai.” Now developing her debut feature CROWN, Amit’s interdisciplinary works explore diversity. She also produces Arts Council documentaries. Her experience spans across formats from India’s earliest web series to critically acclaimed international films. Amit is the co-founder of ARInclusive - a creative studio championing D&I in the creative industry - and is on the UK Asian Film Festival board.

Amy Coop (She/her) Writer/Director:

Amy is a BAFTA nominated and RTS winning Director, Writer & Producer working across HETV, Features and Short film, with over 20 years experience as an Assistant Director. A self-professed Renaissance Tran and genre geek, her work is often tall, genre-bending, dark, funny and deeply personal, and delves into themes of identity.

Carina Haouchine (She/her) Director:

Carina is an award-winning Scottish-Algerian filmmaker. She directed her first short documentary, Ululation, in 2018 through the SDI’s Bridging the Gap scheme. She has since worked with OTOXO Productions in Barcelona, was an SDI ‘New Voice’ in 2021 and was part of Film in Mind’s group for emerging filmmakers. Carina often self-shoots and edits and is currently working on her first feature documentary, Session Zero.

Carys Lewis (She/her) Writer/Director:

Carys is a Welsh-Canadian writer and director. Her recent TV directing credits include: FATHER BROWN, CASUALTY, VANDULLZ (BBC Comedy) and THE MURDER RETRIAL (Channel 4). She is developing a half-hour dramedy with Sphere Media, and her feature debut, BLUE MOTHER, is in development with Ffilm Cymru Wales. Carys splits her time between the UK and Canada.

Em J. Gilbertson (They/he) Writer/Director:

Em J is a trans writer/director from Liverpool. They are an RTS winning director, NFTS graduate and a Channel 4 scholar working towards their debut feature: The Pigeon Heart. Em has previously shadowed Phil Barantini and currently works as a second unit director in television.

Dr. Isa Rao (She/her) Director:

Isa is a Glasgow-based cognitive neuroscientist and documentary filmmaker. Her work encompasses observational documentary television and creative documentary, with a focus on mental health and human and non-human animal-related stories. She is currently working on her first feature documentary, FLOTSAM, which delves deeper into human-animal relationships and animal consciousness.

Jessica Bishopp (She/her) Director:

Jessica is a London-based award-winning documentary filmmaker fascinated by subcultures, myth and our connection to place. Her Doc Society supported short, Skyward, about two young bird watchers, premiered at the BFI London Film Festival 2022, was shortlisted for a Grierson Award and launched online with The Guardian Documentaries. Recently her IF/Then and Field of Vision supported short documentary, Puffling, had its World Premiere in competition at SXSW 2023, went on to win the Oscar Qualifying Jury Award for Documentary at Aspen Shortsfest and was longlisted for a BIFA award. Puffling follows Icelandic youth who swap parties for nocturnal puffin rescues in a coming-of-age story for young adults and puffins alike.

Juliana Kasumu (She/her) Director:

Juliana is an artist and filmmaker, working across film, photography and installation. By focusing on aspects of community, family archives and the significance of kinship, Kasumu looks to address wider political frameworks and explore the fragmented narratives that form her identity. Kasumu’s work has been exhibited at Rencontres de Bamako Biennale Africaine de la Photographie, Mckenna Museum of African American Art, Antenna Gallery, Getty Images Gallery, Victoria and Albert Museum, amongst others, with her most recent installation ’What Does the Water Taste Like?'' presented in the 2022 London Open at Whitechapel Gallery. Her short documentary BABYBANGZ had its U.K premiere at BFI Film Festival, and received the Grand Jury Prize AFI Fest, the Audience Award for Best Documentary at Blackstar Film Festival, and Best Cinematography at New Orleans Film Festival, whilst What Does The Water Taste Like?was the 2021 recipient of the Aesthetica Emerging Art Prize. Her most recent short Losing Joy premiered at BFI Flare. Kasumu is currently in post-production on her newest film Adura Baba Mi.

Juliana Kasumu (She/her) Director:

Juliana is an artist and filmmaker, working across film, photography and installation. By focusing on aspects of community, family archives and the significance of kinship, Kasumu looks to address wider political frameworks and explore the fragmented narratives that form her identity.

Kelly Holmes (She/they) Writer/Director:

Kelly's films have been commissioned and broadcast on national French television, screened internationally at BAFTA/OSCAR festivals, and she is developing her first horror feature film with Gallus Films. She has participated in multiple talent schemes including the Reykjavik Talent Lab; won the JETS Co-Production Market at Berlinale in 2021, and was selected as part of Frontières Co-Production Market 2021.

Laura McBride (She/her) Producer:

Laura is a BAFTA Scotland nominated producer and founder of Lothian Films, an Edinburgh-based production company which champions women writers and directors. Lothian Films has a diverse slate of feature films including; THE PHARMACIST and LOVE SONG TO LAVENDER MENACE, which are in funded co-development with John McKay at Compact Pictures. Laura is an Associate Producer on FALLING INTO PLACE (Compact Pictures & Weydemann Bros) and TORNADO (Tea Shop Productions).

Lotus Hannon (She/her) Writer/Director:

Lotus creates bold work exploring themes of survival, power and sexuality. She is developing her directorial feature debut, “On The Line” with Ipso Facto Productions. Her award-winning shorts have screened internationally: “Unseen” at LFF, acquired by ARTE. Her BFI NETWORK short “Re-Live” will premiere with Hollyshorts. Selected for BAFTA Connect, Lotus has directed drama for BBC1 and Channel4.

Maja Bodenstein (She/her) Writer:

Maja’s film script THE MANIKIN placed third on the Brit List 2023. She is developing original feature films with Joi Productions and Lammas Park, original television projects for Headline Pictures, Joi Productions and Studio21, and wrote the VR game THE PIRATE QUEEN for Singer Studios, starring and executive produced by Lucy Liu, which won the TriBeCa Immersive Storyscapes Award 2023.

Natalie Hewit (She/her) Director/Producer:

Natalie is a critically acclaimed Director and Producer whose work has been nominated for a BAFTA, a Grierson, two Broadcast Awards and has won an RTS Award. She is currently working on her first feature documentary – a film about the search for the wreck of Sir Ernest Shackleton’s ship Endurance in Antarctica, for National Geographic Documentary Films.

Noemie Nakai (She/her) Writer/Director:

Noemie is a Japanese and French writer/director. Her latest short premiered at Sundance and was acquired by The New York Times. She was selected for the Sundance / NHK lab, BAFTA Connect, Talents Tokyo and the Focus Asia market. Her feature in development is a Nicholl semifinalist and received the main award at Busan film festival’s Asian Project Market.

Sarudzayi Marufu (She/her) Producer:

A BAFTA Connect Producer, Writer, and Director with a diverse background in Theatre, Film, TV, Community Engagement, and Training and Development Programs. As the founder of Euras Films, she champions marginalised voices, creating bold, innovative narratives that resonate on a global scale. Sarudzayi's commitment to diversity and representation in storytelling is evident in her impactful works, such as the anthology "Pieces" and the upcoming feature "Recipes for Mica Halliday." Her leadership extends beyond the creative industry, as she has a background in business development and crisis management, exemplifying her versatility and expertise in both arts and business.

Solene Guichard (She/her) Writer/Director:

Solene is a French writer/director based in Belfast. After graduating from Queens University Belfast with a Masters in Film Studies, Solene made her first funded short with BBC NI. She then participated in the Northern Ireland Screen;s New short Focus Scheme in 2018 with her film;Kelly. Her work was screened at Outfest LA, Rhode Island, Cork International Film Festival and Belfast Film Festival. Solene received funding from Future Screens NI and the Arts Council NI. In 2023, she started developing her first feature and took part in the X-Pollinator CREATOR scheme with Aisling Walsh as a creative mentor.

Seemab Gul (She/her) Writer/Director/Producer:

Seemab is a screenwriter, director and producer. SANDSTORM is Seemab's recent narrative short film as a writer/director. It premiered at Venice and Sundance amongst 100+ international film festivals. It won 20 awards and is BIFA-nominated. Her half-hour documentary ZAHIDA won the Audience Award at Tasveer Film Festival and was broadcast on Al Jazeera. With some experience in documentaries, she is now focusing on writing and directing fiction films. Seemab is an alumna of Locarno Open Doors, Berlinale Talents and Venice Biennale College Cinema. She also attended La Fabrique Cinema with her feature project HAVEN OF HOPE, which is due to be her debut. This film is an international co-production between four countries. Seemab has a BA in Fine Art and an MA in Filmmaking from the London Film School.

Tracy Spottiswoode (She/her) Writer/Director:

Tracy is an award winning writer-director from Wales working across film, animation, TV, theatre, radio and immersive XR. Her short LGBT film for BBC/BFI Network Wales - SALLY LEAPT OUT OF A WINDOW LAST NIGHT - won 8 awards internationally. Tracy created the first VR film in Welsh & English - A SIGNAL ACROSS SPACE - and is developing a bilingual western: TREMBLE.

We wish to extend thanks to partners at Glasgow Film Festival and supporters at BFI Doc Society, Scottish Documentary Institute and Northern Ireland Screen.

British women filmmakers dominate BIFA 2023

Written by Tom Symmons

It has been an exciting year for British women filmmakers who once again dominate the nominations for the 2023 British Independent Film Awards. This year is all the more remarkable for the explosion in new female film talent with no less than twelve feature film debuts - two more than 2022 - which are up for a total of seventy-two BIFAs across all awards categories. What is more, over half of the debut features are directed by women of colour - over three times the number from last year - and one debut, which, unfortunately, is still extremely rare, was directed by a woman with disability.

How To Have Sex (Molly Manning Walker), Rye Lane (Raine Allen-Miller) and Scrapper (Charlotte Regan) - three narrative features displaying stylistic flair and a refreshing attitude towards under- and mis-represented young female experiences - claim forty-three noms between them. All three films have been nominated in five of the main categories: Best British Independent Film, Best Screenplay, Best Director, Best Debut Director and Best Debut Screenwriter.

Documentary features by women also feature strongly at this year’s awards with four out of five noms in the Best Debut Director - Feature Documentary category for If The Streets Were On Fire (Alice Russell), Is Anybody Out There? (Ella Glendining), Another Body (co-dir.Sophie Compton) and The Taste of Mango (Chloe Abrahams), four engaging films grappling with difficult issues from a female perspective. If The Streets Were On Fire and Another Body are also up for the Best Feature Documentary award.

Five other feature debuts from female directors are in the running for awards: Mahalia Belo’s powerful post-apocalyptic drama, The End We Start From, received nine nominations, most significantly Best Lead Performance for Jodie Comer. Adura Onashile’s gritty and intimate family drama, Girl, has two noms including Breakthrough Performance nominee. Perhaps surprisingly, Pretty Red Dress - Dionne Edwards’ playful unpicking of Black queer masculinity - received nominations for only Best Supporting Performance and Breakthrough Producer. The poetic yet unflinching portrait of black motherhood on the margins in Earth Mama (Savanah Leaf) is up for Best Debut Director and Best Lead Performance. And, finally, original and arresting Brit-Asian action comedy, Polite Society (Nida Manzoor) is up for five awards, including Best Debut Screenwriter.

We hope this year’s BIFA nominations herald greater gender equality in the director’s chair in the coming years. After three years without any increase - women directors accounted for just 20% of UK films released in 2020, 2021 and 2022 - this figure rose to 23% in the first half of 2023. Although still unacceptably low, this figure is moving in the right direction; boosted by the new wave of female filmmaking talent recognised by this year’s awards nominations, it may continue to do so.

We’re wishing all the nominees the best of luck for this Sunday. Follow all the action over on BIFA’s instagram page at @bifa_film, where they’ll be announcing all the winners.

You can also catch the BIFA nominated Earth Mama at our special preview on Monday 4 December, 6.20pm at Curzon Hoxton, where director Savanah Leaf will be joining us for a post-screening conversation - find out more here.