As President of BAFTA, I am delighted to welcome you to the 78th EE BAFTA Film Awards to celebrate the incredible variety of films and breadth of talent that marks an exceptional year in the industry.
Occasions like tonight are a wonderful opportunity to shine a spotlight on the amazing creative skills that are the powerhouse of the British and global industry.
I am so proud of BAFTA’s ongoing commitment to nurturing the talent of tomorrow in the screen arts. Today, Britain is home to some of film’s most exciting productions and when the sky’s the limit, it is vital that our creatives and skilled practitioners at every level are supported to develop their careers. From the Young BAFTA programme to bursaries offering thousands of pounds in immediate financial support for junior creatives, the charity’s programmes are continuously opening doors to talented individuals of all backgrounds, and at every stage of their career.
I know many here tonight have contributed to this important work in a number of ways, whether it’s financially, through mentoring, or volunteering time and expertise. As a charity, BAFTA remains hugely grateful for your support and I couldn’t be prouder to see what has been achieved this year.
Congratulations to all the nominees who are being celebrated at tonight’s ceremony and I wish you all a wonderful evening.
HRH The Prince of Wales, k . G . k . T . President of BAFTA
Jane Millichip, CEO, BAFTA Sara Putt, BAFTA Chair
WELCOME
Welcome to the EE BAFTA Film Awards 2025, marking 78 years in film-making excellence.
This year we recognise 42 nominated films, representing a mesmerising array of genres and creative expression from the UK and beyond.
From small independent productions to big studio films, you have enriched our viewing and showed us you are a creative community at the top of your game.
BAFTA encourages the public to embrace the screen arts and inspires the next generation of creative talent. Tonight, we welcome those filmmakers who are creating content for a vitally important group of cinema-goers – families and young people – with the introduction of our new awards category, Children’s & Family Film.
The power of winning a BAFTA is undeniable, but tonight is also a celebration of the power of storytelling to contribute to societal good. To that end, we are delighted to acknowledge the work of our new Fellow, Warwick Davis, who has dedicated his career to creating a more inclusive screen industry, and our Special Award recipient, MediCinema, for bringing the joy and restorative power of film to hospital patients across the UK.
In closing, we would like to extend our warmest wishes to friends and peers impacted by the LA wildfires, and we would like to offer our sincere gratitude to those from the Californian community who join us in London tonight.
EE WELCOME
“If there was only certainty… there would be no mystery. And therefore no need for faith.”
So says Ralph Fiennes in one of the performances of the year – in Edward Berger’s thriller Conclave, which sees the College of Cardinals assemble to elect a new Pope.
Happily, the same scheming and skullduggery depicted behind the Vatican’s doors is absent from naming the shortlist for the EE Rising Star Award. Our nominees were decided by a jury including former winners and industry experts.
Congratulations to our contenders: Marisa Abela, Jharrel Jerome, David Jonsson, Mikey Madison and Nabhaan Rizwan. In its 20th year, we’re still putting our faith in the British public to vote for one of you, making it the only BAFTA Award decided by the nation’s film lovers.
The arts are a powerful tool for teaching life skills, fostering creativity and confidence. We’re using our BAFTA partnership to inspire the next generation of acting talent and to open up the world of opportunities beyond that.
That’s why, with Set the Stage, we’re giving the nation’s teenagers a chance to make a short film crewed entirely by young people. Whether their interests lie in make-up artistry, storytelling or fashion, we want them to see a future full of possibility.
Search ‘EE Learn’ to find out more, get involved and see how we’ll give our successful applicants all the support – and faith – they need to create a BAFTA-worthy masterpiece.
Pete Jeavons, Marketing Communications Director, EE
Text: Emma Bullimore
Photography: Zoe McConnell
THE HOST
DAVID TENNANT IS BACK FOR MORE
“Luckily this is not what I do for my day job,” says actor David Tennant. “If it all goes wrong I’ll just go back to pretending to be other people.”
Luckily for us, Tennant is following up his warm and whip-smart 2024 debut as master of ceremonies at the EE BAFTA Film Awards with a second round. Watched by millions of viewers at home last year, the Scottish actor is once again taking the stage at the Royal Festival Hall. In a year of sequels, from Dune: Part Two to Paddington in Peru, Tennant’s hosting is one follow-up we’re all firmly seated for.
We asked Tennant a few questions ahead of the night to find out what his personal journey through the events of the evening feels like – nerves and all.
Do you ever get starstruck up there?
You don’t really get the chance to talk to people, because you have a very specific purpose on the night, and a very defined reason to be there. As the host, you’re standing in a corner while everyone accepts their awards, and it’s a bit like jumping out of a plane: once it starts, there’s no going back. That said, it’s probably more nerve-racking to be sitting out in the audience wondering if you’re going to win a prize or not...
How cheeky do you plan to be with your jokes?
BAFTA wants its awards ceremony to have a kindness to it, and to be gentle and inclusive. I think that’s important to its ethos and I was very happy to hear it, because I’m not particularly interested in being mean to someone for the sake of a gag. A little bit of very gentle prodding may be fun, but I would hate to feel that I was making anybody uncomfortable. The night is a celebration after all.
THERE’S SOMETHING ABOUT GOING OUT AND WITNESSING A STORY AS A COLLECTIVE EXPERIENCE... THERE’S NOTHING LIKE THE CINEMA
David Tennant
What’s your take on the year in film?
Yes, it’s a really exciting year, because there are lots of strong contenders but there’s still everything to play for in terms of awards. Unlike other years it feels like there are very few obvious frontrunners. It’s quite an open field, full of really good films, and that’s a very healthy environment to be hosting the awards in.
Do you still enjoy going to the cinema?
There’s nothing like the cinema. There’s something about going out and witnessing a story as a collective experience, it’s special just like the theatre. Obviously, the scale of the cinema is amazing too –experiencing the size of the screen and the fidelity of the sound is magnificent. I have a lot of kids though, so Frozen may be the film I’ve seen most times in my life! Or Moana. They aren’t necessarily the films I would have chosen for myself and yet they are two fantastic movies –as rewatching goes, there’s quite a lot to get out of both of them.
Do your children think it’s cool that you’re hosting the BAFTAs?
No! The only way I could impress them is if Ryan Reynolds turns up at the BAFTAs and I can get a selfie with him, then I would get to go home like a god. I voiced one of the Julia Donaldson films, The Highway Rat, which a lot of children have watched, but my children wouldn’t touch it. I think that’s inevitable, isn’t it?
How proud are you to be part of the British film industry?
Very. There have been moments where there hasn’t been enough studio space in the UK because there’s been so much demand. Long may it continue.
What are your favourite films of all time?
It’s hard to say what makes a perfect film, it’s something slightly alchemical that you can’t quite predict until you’re in the midst of it. For me, 12 Angry Men, Star Wars, It’s a Wonderful Life, The Wizard of Oz and The Remains of the Day are all up there. Often you recall the first time a film really set you on fire and for me, that was The Golden Voyage of Sinbad when I was very young. That stop-motion animation was like actual magic to me, and frankly I still think it is magic.
THE FELLOW THE ENDURING CHARM
OF WARWICK DAVIS
Text: Simran Hans
Photography: Zoe McConnell
I REFER TO BEING A SHORT PERSON AS MY SUPERPOWER NOW. IF YOU EMBRACE YOUR DIFFERENCE, YOU CAN FIND SUCH STRENGTH IN IT
Warwick Davis
The year was 1977 and seven-year-old Warwick Davis was hoping to buy his first cinema ticket, to see a film called Star Wars.
A huge queue snaked around the venue, the Sutton Cinema in Surrey. After the film, as his mother did her make up, Davis sat on the end of her bed and recited the entire plot of A New Hope, “which actually took longer than the film’s two-hour running time,” says the actor. “I told her about Luke Skywalker, and how the lightsabers were so cool, and all the creatures,” he remembers. “Just talking about it now, I could be seven again.”
Just a few years later, Davis was cast as an Ewok in Star Wars: Return of the Jedi, the third instalment of George Lucas’ sci-fi fantasy phenomenon. It was the start of a prolific career. The British actor, comedian, presenter, producer and accessibility advocate, who was born with a rare form of dwarfism called spondyloepiphyseal dysplasia congenita, has starred in some of cinema’s biggest and most beloved franchises. Now, he is the recipient of this year’s BAFTA Fellowship.
Davis remembers meeting his on-screen heroes on the set of Return of the Jedi as “a naive 11-year-old.” In his view, Harrison Ford, Mark Hamill and Carrie Fisher were Han Solo, Luke Skywalker and Princess Leia. “I didn’t understand that you couldn’t just wander up to the big stars and have a chat between takes,” he says. Not that this stopped him from approaching the other actors with curiosity and confidence. Davis credits his parents for encouraging him to make his own way in the world. “Even though I was very short” - 2’ 11” he says - “I had a big personality.”
Davis wasn’t a professional actor, but on Jedi he “instinctively became the character.” As the adorable, furry creature Wicket, he drew from his pet dog Brandy, a floppy-eared Cavalier King Charles. “My dog would tilt his head from side to side, because he was trying to understand what he was hearing. I remember thinking, that is so endearing,” he says. He started cocking his
head to one side as Wicket. “I wish I could still do that now, as an actor,” he says. “As you get older, you become more conscious of what you’re doing.”
It was George Lucas who first recognised that actor’s instinct in Davis. In 1987, he cast the then-teenager as a pure-hearted sorcerer named Willow. Directed by Ron Howard, the film was the first time Davis had the opportunity to perform without hiding behind a mask. “It was totally different,” says Davis. Howard, “an actor’s director,” told him to channel the leading man drawl of James Stewart. “It takes a big leap of faith, spending millions of dollars to put somebody like myself at the helm of a project like Willow,” he says. “I will forever be grateful.”
Those experiences would later make for great stories on the set of Harry Potter, in which the actor played the charms teacher Professor Flitwick. “I was surrounded by the great and good of British acting – I didn’t feel worthy of being amongst them,” he remembers. But Daniel Radcliffe, Rupert Grint and Emma Watson disagreed. On set, they would grill him about his long career. “You think, yes, I’ve got some history. I haven’t worked with John Gielgud in the theatre, but I’ve done Star Wars,” he says, grinning.
After Willow, Davis was conscious of being pigeonholed into one type of role. He had built a career playing “good characters” like Wicket, Willow, one of the Goblin Corps in Labyrinth, the noble mouse Reepicheep in the BBC’s The Chronicles of Narnia. It was a surprise, then, when he was cast in Leprechaun, a kids’ scary movie about a naughty elf “who did all sorts of mischievous things.” The studio recut the film as an R-rated horror and turned it into a hit: Leprechaun went on to spawn seven sequels.
There have been other times the actor has subverted expectations. In the comedy travel series An Idiot Abroad with Karl Pilkington, Davis says “you get to see the real me.” He also played an exaggerated (and sometimes unflattering) version of himself in Life’s Too Short, the TV mockumentary he created with Ricky Gervais and Stephen Merchant. “The slapstick
elements of Life’s Too Short, like falling out of a car or climbing a bookshelf, came very naturally,” he says with a chuckle. Davis, whose inspirations include comedians Steve Coogan, Steve Martin, Will Ferrell and John Candy, wanted audiences to see that he could laugh at himself. “When you do something that is out of your comfort zone, it makes the audience look at you in a different way,” he says. Short actors, Davis has proved, can do more than just one thing.
Davis used his growing profile to found the acting agency Willow Management with his father-in-law, fellow short actor Peter Burroughs. Davis recalls the approach of a former agent for short actors as akin to “bunching them all together and selling them like fruit.” He and Burroughs wanted to champion people’s individual abilities, rather than the fact that they were short. Together, they lobbied for better pay, relative to each actor’s skills. “We’ve all got to start somewhere,” says Davis. “I would accept somebody if they had enthusiasm, the desire to be successful, and a love of entertaining.”
As well as advocating tirelessly for other short actors, Davis co-founded the charity Little People UK, which supports both people with dwarfism and their loved ones. He also started the Reduced Height Theatre Company, inspired in part by the Ovitz family, a family of travelling dwarves and entertainers who survived the horrors of Auschwitz during the Second World War. “What I admired about them was that they didn’t just rely on their height to entertain: they all learned musical instruments, made their own sets, and created plays. One of my dreams is to make either a film or a drama series of their story,” he says.
“Initially, I was thinking, I’m in Star Wars because I’m a little person. I was the right height for the job,” says Davis. “They didn’t understand my performance capability.” At the time, neither did he. “I refer to being a short person as my superpower now. If you embrace your difference, you can find such strength in it. It makes you who you are.”
THE OUTSTANDING CONTRIBUTION
THE POWER OF MEDICINEMA
For 25 years, the charity has used the magic of film to expand our notions of care.
Away from family and friends and all the comforts of home: no matter your age, or how short or long the stay, being in hospital can be an incredibly isolating experience. But what if you could go to the cinema while you were there?
“Unless people with illnesses tell you, I don’t think you could ever appreciate just how much things like art and film matter,” says Maria, a patient who attended MediCinema screenings during her stay at Guy’s Hospital. The charity provides therapeutic cinema experiences to adults and children in NHS hospitals – the latest releases, at no cost to the NHS or the patient’s families.
Now, after 25 years, the work of MediCinema – who provided over 1,200 screenings in their seven screening rooms across the UK in 2024 alone – is being recognised with BAFTA’s Outstanding British Contribution to Cinema. Putting accessibility front and centre in all that they do – with many patients even able to attend screenings in their own hospital bed – the capacity of MediCinema to bring people together is all down to the hard work of its staff, nurses, cinema managers, volunteers and other partners. This is alongside the funding it receives from donations from individuals, organisations and trusts and foundations, without which such stateof-the-art facilities wouldn’t be possible.
As Maria puts it, “from that first screening, MediCinema gave me a chance to let go and to smile again.” To hear some of the ways cinema reached and helped hospital patients in the past year, we asked the people who know best – the dedicated cinema managers of MediCinema (plus, we had to get their personal Letterboxd-style favourites of 2024, too).
TOWARDS THE END OF ONE SCREENING, THE PATIENT’S DAUGHTER WHISPERED TO ONE OF OUR VOLUNTEERS: ‘IT REALLY DOESN’T FEEL LIKE WE’RE IN A HOSPITAL.’ MY DAY WAS MADE: A POTENTIALLY REALLY DIFFICULT TIME HAD BEEN TRANSFORMED INTO A BEAUTIFUL AFTERNOON
Nicola Hill, Cinema Manager
John Martin, Cinema Manager MediCinema at St Thomas’ Hospital, London
In our screening of Sing 2, it was pure joy watching unwell kids laughing, singing and dancing along. Then there was the heartwarming feeling of seeing the change within the whole family after the film ended. I could see how the parents forgot all the bad stuff going on and just became a family having a great time again.
Simon Hickson, Senior Cinema Manager
CW+ MediCinema at Chelsea and Westminster Hospital, London
The Boys in the Boat was a favourite moment. It was such a special and lovely screening with a visit from Peter Guinness, who plays George Pocock in the movie (the builder of the boat and a father figure to the boys). Peter was so kind with the patients, answering their questions and posing for photos; everyone loved his tales of working with George Clooney. It was a truly magical and joy-filled evening.
Kate Thomson, Cinema Manager
MediCinema at the Royal Hospital for Children / Queen Elizabeth University Hospital, Glasgow
Our special screening of Paddington in Peru, with special guests Mr. Brown and Paddington, has to be the night which has had the biggest impact on the patients. The kids were absolutely beside themselves to meet the bear; they were astounded that they were being visited by Paddington and were queuing up to give him high fives and tell him that he was their best friend! Hugh Bonneville was absolutely brilliant with the kids and spoke to every single one of them, who couldn’t believe they’d met Mr. Brown.
Jon Jones, Technical Assistant
MediCinema at Serennu Children’s Centre, Newport, Wales
At this particular Sonic the Hedgehog 3 screening, lots of children came in with their own cuddly toys of the characters: Sonic, Shadow, Knuckles and so on. When asked who was coming to watch the film as well, the children were very keen to tell me all about their plush toys they had brought along with them. They were very excited for the film and at this particular screening, I heard excitement coming from the auditorium while the film was playing. When it ended, all the children’s faces were beaming. It was lovely to see.
Laura Smith, Cinema Manager
MediCinema at Alder Hey Children’s Hospital, Liverpool
The film that had the greatest impact would have to be Moana 2: specifically the launch screening for our brand new MediCinema at Alder Hey. The visit from the ‘real’ Moana from Disney, and the wonderful array of incredible young guests and their loved ones made it extra special. Seeing their little faces glowing in the light of the big screen, for the first time at the hospital, will stay with me forever.
Nicola Hill, Senior Cinema Manager
Guy’s Hospital, London
A few days before we were due to screen Wicked I had one of our very long-term patients ask me if she could come with her young daughter and her daughter’s little best friend. “Absolutely!”, I thought. A beautiful way to create a lasting memory for all involved. I was moved when they arrived all Wicked-ed up, in best fairy party dresses and tiaras, and the patient had a sparkly green top bought in especially for the screening and her nurse on the ward had helped her change into it. Dressing for event cinema can still be a thing even when you are in hospital!
Towards the end of the screening, the patient’s daughter whispered to one of our volunteers: “It really doesn’t feel like we’re in a hospital.” My day was made: a potentially really difficult time had been transformed into a beautiful afternoon.
Shirley Laverick-Stovin, Deputy Cinema Manager
MediCinema at the Royal Victoria Infirmary, Newcastle
We had a very special preview screening of Despicable Me 4 for a child leukaemia patient and his classmates to celebrate the end of his treatment. They couldn’t believe they were seeing the film early and it helped make the young patient feel very special. With a bagful of goodies to take away at the end, the looks on those children’s faces were just incredible.
MediCinema staff’s picks of 2024:
Nicola: Sing Sing
Simon: Love Lies Bleeding
Kate: Gladiator II
John: All of Us Strangers
Laura: Paddington in Peru
Jon: IF
Shirley: Dune: Part Two
In Conversation with
Alice Cobbie Luna
THE BREAK THROUGHS
THE DOCUMENTARY DIRECTOR, COSTUME DESIGNER AND WRITER/DIRECTOR ON BAFTA BREAKTHROUGH AND FINDING YOUR PEOPLE.
Text: Alec Holt
Photography: Manuel Vazquez
Alice Russell (If the Streets Were on Fire, 2022), Cobbie Yates (Layla, 2024) and Luna Carmoon (Hoard, 2023) are all participants in 2024’s BAFTA Breakthrough UK, supported by Netflix. The initiative showcases and supports the next generation of creatives in film, games and TV, helping leverage early success into sustainable careers.
lun A c AR m OO n : The reason that I really like getting onto programmes is because I never went to film school, so I don’t really have any contemporaries in my network. So for me, it’s always about being able to meet people in my industry that do what I do and just love film, because I (never had) that community.
c OBB ie y AT es : I’d echo that. We had a really interesting first session with BAFTA on the weekend. There were a couple of seminars on different aspects of film, like the financial element, or emotional management. It makes you feel not so insular. I felt like I was in a room of 21 people and I felt like the penny was dropping for everyone at every moment.
A lice R ussell : It felt like it was the first day of school, just a load of kindred spirits. There was a real warm energy. But similarly, I didn’t learn film. I taught myself how to make docs, (so) I always have a bit of a feeling of imposter syndrome. It’s validating to have BAFTA say, “Well done, guys. This is a significant thing. People have connected with it.” It gives you the confidence to dream and be daring and try things that before you might have been a bit too scared to. And it’s just wind in your sails when you meet other people who are on a similar path to you.
lc : I think community is completely lost in film in general. To be honest, I think the industry itself is very elitist, and that’s not how I feel when I’m alone in the cinema. I wish there were more spaces where filmmakers could meet and hang out and work and bounce off of each other, which is obviously what’s so great about this. It’s being able to test the thermometer of things with people, especially if you are not connected to anyone in the industry at all – to be able to ask, “Is this normal?”
cy : Even just to have a figure in proximity, not even necessarily talking. Just to have a friend or a colleague that has seen you not move for 18 hours and is like, “Do you want to get some lunch?”
Alice Russell
Luna Carmoon BREAKTHROUGH GIVES YOU THE CONFIDENCE TO DREAM AND BE DARING… IT’S JUST WIND IN YOUR SAILS WHEN YOU MEET OTHER PEOPLE WHO ARE ON A SIMILAR PATH TO YOU
IT ALLOWS YOU TO TEST THE THERMOMETER WITH OTHERS, ESPECIALLY IF YOU ARE NOT CONNECTED TO ANYONE IN THE INDUSTRY AT ALL –TO BE ABLE TO ASK, ‘IS THIS NORMAL?’
lc : It can be incredibly lonely if you’re working crazy hours, and especially if you can’t sustain yourself on the salary that you’re getting from whatever project you’re working on, so you’re having to do more freelance work: whether that be adverts, music videos, and so on.
AR : Off the back of that, the sad truth about the indie doc scene is that it is really imploding. There is no money at all. BFI Doc Society are the only independent film funders, and that isn’t a huge pot: everybody in the UK is vying for that money. Indie docs are so important because they are films, often passion projects, that are made over a really long period of time. I just hope that there will come a point in time when we’re able to support those types of films again, because they are being supported in Europe, just not in the UK. But that’s not specific to docs. It’s just art in general, right? It’s devalued.
cy : If you’re telling stories about different cultures, you can’t get close to that by skimming. And I think as the budgets come down, it’s harder to tell an authentic story without spending money to build the world. That’s also where we’re exploiting our creators, because we’re relying on the fact that they are going to put their whole heart into it, which is great, but that’s not sustainable. We need to be uplifting and supporting them – and paying them. Yes, they’ve made a beautiful film, but are they actually going to be able to eat? There’s a system in place to support us, so it should support us.
AR : When If the Streets Were on Fire got accepted to London Film Festival, nobody wanted to fund the finishing of the film. So our world premiere was in jeopardy, and we ended up launching an Indiegogo campaign to get us £25,000 to finish it. And it was just a really dicey, scary six weeks. But the premiere was the proudest day of my life. We had all the kids from the film, their families, all my mates. And I just was like, “Wow, we carried this film for six years. It nearly died so many times, and now it’s in the world.”
lc : The experience of making a film is always very intense. I love the scandal that runs underneath the film set. And I love getting to meet all my crew. For me, there’s no hierarchy. Everyone has lunch together, from gaffers to make up to actors, and everyone gets to learn about each other’s lives.
cy : The backdrop of Layla is a celebration of the queer creative spirit, and how we can make so little feel so huge. You’ll see someone in the most outrageous outfit walking through Tower Hamlets, and that bold, unapologetic strength is what we wanted to hit viewers with. Equally, outside of the main characters, (we were) looking at queerness as a whole, placing it into all facets of the outer world and everyday life. I’m so proud of that. Then, like you said, the outrageous behaviour of a queer crew was just hilarious to experience.
lc : I say it all the time, but we made a lot of love on the Hoard set. You can feel all those feelings when you watch the film because there were so many of those sorts of divine, unearthly feelings when we were making it.
NETFLIX PROUDLY
2025 EE BAFTA FILM
2v -
BEST FILM
FILM NOT IN ENGLISH LANGUAGE
DIRECTOR
ADAPTED SCREENPLAY
LEADING ACTRESS
KARLA SOFÍA GASCÓN
SUPPORTING ACTRESS
SELENA GOMEZ
SUPPORTING ACTRESS
ZOE SALDAÑA
CINEMATOGRAPHY
EDITING
MAKE UP & HAIR
ORIGINAL SCORE
CONGRATULATES
OUR AWARDS NOMINEES
DOCUMENTARY
ANIMATED FILM
CHILDREN’S AND FAMILY FILM OUTSTANDING BRITISH FILM
DOCUMENTARY
SCREEN TIME WHAT WE WATCHED
Illustration: Alice Tye
FROM EPIC CINEMA EXPERIENCES TO WATCHING A FILM WITH A LOVED ONE; A PREMIERE OF A PERSONAL PROJECT, OR A SCREENING EVENT THAT BRINGS A COMMUNITY TOGETHER. THESE ARE THE BAFTA COMMUNITY’S FAVOURITE MEMORIES OF THE YEAR THAT WAS
“My brother, who has autism, had fixated on the idea of going to see Paddington in Peru at the cinema. He’d ask me to take him every single day, but I was slammed with work and couldn’t make it happen. He was gutted. I finally managed to get a day off and surprised him by breaking him out of his day services early. After he’d mugged me of my life savings for popcorn, he didn’t stop grinning from the second the film started to the moment the lights came back up.”
Charlie Tidmas, writer/director and 2024 BFI Flare x BAFTA mentee
BFI Network & BAFTA Mentoring in partnership with BFI Flare supports the next generation of LGBTQIA+ creatives as they work towards a debut feature, TV pilot or online commission.
“Seeing Wicked in the cinema was a magical and incredible experience that I won’t forget. My favourite moment was when Glinda and Elphaba were dancing in the Ozdust ballroom scene. It was a powerful, emotional moment that made me feel like I couldn’t take my eyes off of the screen. Another moment I loved was at the beginning, when you catch a very brief moment of Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion walking along the yellow brick road. It’s one of those ‘blink and you miss it’ moments!”
Kara Gillespie, 2024 BAFTA Young Presenters winner (15-18 category)
The Young Presenters competition gives aspiring TV talking heads the chance to front content for the Young BAFTA YouTube channel and showcase their skills at different events around the country – including on the BAFTA Awards red carpet.
“One cinema experience from 2024 really sticks out for me: watching Mati Diop’s Dahomey . I was invited by my friend with little knowledge, only that it is was a documentary about artefacts from Benin. The film opens with these spooky vocals that hook you in: from then on I was spellbound. Afterwards, I felt the filmmaker had opened up my mind to many ways to talk about the issues raised in the film. It was really an excellent experience.”
Sakky Barnor, film editor
Last spring, Barnor was one of the recipients of the Prince William BAFTA Bursary, which in 2024 gave grants of up to £2,000 to 58 emerging creatives from low socio-economic backgrounds – benefiting anyone from production assistants and costume designers to writers and technical trainees.
“My favourite screen memory of 2024 was Two Strangers Trying Not to Kill Each Other at the ICA as part of the BFI London Film Festival. A packed audience completely in sync with the storytelling. The film explores love, ageing and the creative process. I watched it with my girlfriend, and we couldn’t stop raving about it on the way home.”
Harry Sherriff, director
Previously a Prince William BAFTA scholar for 2021 – part of the UK scholarship programme which supports individuals undertaking undergraduate and postgraduate courses in film and TV – Sherriff just wrapped his darkly comic debut feature Misper.
“ Love Lies Bleeding at the Flare Film Festival last March is a night that springs to mind. Never has a cinema screening felt like both a potential dating market, and a venue to run into multiple people you are trying to avoid, all at once. To watch a film so charged with desire and love and queer lust – while you can see your friend awkwardly say ‘Hi!’ to two of their exes and you yourself are dodging the eye of a person you didn’t text back, all the while trying to catch the eye of someone you have a date with later... Well, it was a perfect moment of setting matching form. The movie was great, but to be honest, most of the drama had happened before the lights went off.”
Travis Alabanza, writer, performer and 2024 BFI Flare x BAFTA mentee
“My favourite screen experience of 2024 was definitely being a part of the Ormeau Cinema Club end-of-year quiz. Our local community pop-up cinema gave me a great chance to catch up with my fellow classmates from my film master’s and the wider Belfast film community. It was lovely seeing so many familiar faces in one place, reminiscing, finding out how each of us are and discussing what we have been working on. We didn’t win, but honestly, it didn’t matter – it was just a fun night that brought us all together again.”
Oran Dunn, filmmaker and actor
Like Barnor, Dunn was a recipient of a Prince William BAFTA Bursary in 2024.
To find out more about the programme and latest cohort please visit www.bafta.org/programmes/bafta-elevate
Empowering the next generation of documentary and specialist factual leaders from underrepresented backgrounds to rise and inspire. Congratulations to the 2025/26 cohort. BAFTA Elevate is supported by
THE NOMINATIONS
Adapted Screenplay
Animated Film
Best Film
British Short Animation
British Short Film
Casting
Children’s & Family Film
Cinematography
Costume Design
Director
Documentary
Editing
Film Not in the English Language
Leading Actor
Leading Actress
Make Up & Hair
Original Score
Original Screenplay
Outstanding British Film
Outstanding Debut by a British Writer, Director or Producer
Production Design
Sound
Special Visual Effects
Supporting Actor
Supporting Actress
EE Rising Star
THE NOMINATIONS
Adapted Screenplay
A COMPLETE UNKNOWN
James Mangold
Jay Cocks
CONCLAVE
Peter Straughan
EMILIA PÉREZ
Jacques Audiard
NICKEL BOYS
RaMell Ross
Joslyn Barnes SING SING
Clint Bentley
Greg Kwedar
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THE NOMINATIONS
Animated Film FLOW
Gints Zilbalodis
Mat ss Kaža
INSIDE OUT 2
Kelsey Mann
Mark Nielsen
WALLACE & GROMIT: VENGEANCE MOST FOWL
Nick Park
Merlin Crossingham
Richard Beek
THE WILD ROBOT
Chris Sanders
Jeff Hermann
THE NOMINATIONS
Best Film
ANORA
Alex Coco
Samantha Quan
Sean Baker
THE BRUTALIST
Nick Gordon
Brian Young
Andrew Morrison
Brady Corbet
A COMPLETE UNKNOWN
Fred Berger
Alex Heineman
James Mangold
CONCLAVE
Tessa Ross
Juliette Howell
Michael A. Jackman
EMILIA PÉREZ
Pascal Caucheteux
Jacques Audiard
THE NOMINATIONS
British Short Animation
ADIÓS
José Prats
Natalia Kyriacou
Bernardo Angeletti
MOG’S CHRISTMAS
Robin Shaw
Joanna Harrison
Camilla Deakin
Ruth Fielding
WANDER TO WONDER
Nina Gantz
Stienette Bosklopper
Simon Cartwright
Maarten Swart
THE NOMINATIONS
British Short Film
THE FLOWERS STAND SILENTLY, WITNESSING
Theo Panagopoulos
Marissa Keating
MARION
Joe Weiland
Finn Constantine
Marija Djikic
MILK
Miranda Stern
Ashionye Ogene
ROCK, PAPER, SCISSORS
Franz Böhm
Ivan Hayder Rothschild Hoozeer
STOMACH BUG
Matty Crawford
Karima Sammout-Kanellopoulou
ORIGINAL SCREENPLAY
JESSE EISENBERG
SUPPORTING ACTOR
KIERAN CULKIN
BEST FILM
FRED BERGER, JAMES MANGOLD, ALEX HEINEMAN
ADAPTED SCREENPLAY
JAMES MANGOLD, JAY COCKS
LEADING ACTOR
TIMOTHÉE CHALAMET
SUPPORTING ACTOR
EDWARD NORTON CASTING
YESI RAMIREZ
COSTUME DESIGN
ARIANNE PHILLIPS
ANIMATED FILM
KELSEY MANN, MARK NIELSEN
SPECIAL VISUAL EFFECTS
ERIK WINQUIST, RODNEY BURKE, PAUL STORY, STEPHEN UNTERFRANZ
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THE NOMINATIONS
Children’s & Family Film FLOW
Gints Zilbalodis
Matiss Kaža
KENSUKE’S KINGDOM
Kirk Hendry
Neil Boyle
Camilla Deakin
WALLACE & GROMIT: VENGEANCE MOST FOWL
Nick Park
Merlin Crossingham
Richard Beek
THE WILD ROBOT
Chris Sanders
Jeff Hermann
With captivating colour of Dolby Vision HDR and Dolby Atmos sound that fills your space
THE NOMINATIONS
Cinematography
THE BRUTALIST
Lol Crawley
CONCLAVE
Stéphane Fontaine
DUNE: PART TWO
Greig Fraser
EMILIA PÉREZ
Paul Guilhaume
NOSFERATU
Jarin Blaschke
THE NOMINATIONS
Costume Design
BLITZ
Jacqueline Durran
A COMPLETE UNKNOWN
Arianne Phillips
CONCLAVE
Lisy Christl NOSFERATU
Linda Muir WICKED
Paul Tazewell
WE WOULD LIKE TO THANK THE
AND PROUDLY CONGRATULATE OUR EE BAFTA FILM AWARD NOMINEES
DIRECTOR
DENIS VILLENEUVE
CINEMATOGRAPHY
GREIG FRASER, asc , acs
EDITING
JOE WALKER, ace
MAKE UP & HAIR
LOVE LARSON
EVA von BAHR
PRODUCTION DESIGN
PATRICE VERMETTE
SHANE VIEAU SOUND
GARETH JOHN RICHARD KING
RON BARTLETT, cas
DOUG HEMPHILL
SPECIAL VISUAL EFFECTS
PAUL LAMBERT
STEPHEN JAMES
RHYS SALCOMBE
GERD NEFZER
IAN BONHÔTE PETER ETTEDGUI LIZZIE GILLET ROBERT FORD
THE NOMINATIONS
Director
ANORA
Sean Baker
THE BRUTALIST
Brady Corbet
CONCLAVE
Edward Berger
DUNE: PART TWO
Denis Villeneuve
EMILIA PÉREZ
Jacques Audiard
THE SUBSTANCE
Coralie Fargeat
THE NOMINATIONS
Documentary
BLACK BOX DIARIES
Shiori Ito
Hanna Aqvilin
Eric Nyari
DAUGHTERS
Natalie Rae
Angela Patton
Lisa Mazzotta
Justin Benoliel
James Cunningham
NO OTHER LAND
Yuval Abraham
Basel Adra
Hamdan Ballal
Rachel Szor
SUPER/MAN:
THE CHRISTOPHER REEVE STORY
Ian Bonhôte
Peter Ettedgui
Lizzie Gillett
Robert Ford
WILL & HARPER
Josh Greenbaum
Rafael Marmor
Christopher Leggett
Will Ferrell
Jessica Elbaum
It’s l e ev g we f wat
THE NOMINATIONS
Editing
ANORA
Sean Baker
CONCLAVE
Nick Emerson
DUNE: PART TWO
Joe Walker
EMILIA PÉREZ
Juliette Welfling
KNEECAP
Julian Ulrichs
Chris Gill
THE NOMINATIONS
Film Not in the English Language
ALL WE IMAGINE AS LIGHT
Payal Kapadia
Thomas Hakim
EMILIA PÉREZ
Jacques Audiard
Pascal Caucheteux
I’M STILL HERE
Walter Salles
TBD KNEECAP
Rich Peppiatt
Trevor Birney
Jack Tarling
THE SEED OF THE SACRED FIG
Mohammad Rasoulof
Amin Sadraei
THE NOMINATIONS Leading
Actor
ADRIEN BRODY
The Brutalist
TIMOTHÉE CHALAMET
A Complete Unknown
COLMAN DOMINGO Sing Sing
RALPH FIENNES
Conclave
HUGH GRANT
Heretic
SEBASTIAN STAN
The Apprentice
NEW GHD CHRONOS MAX
THE NOMINATIONS
Leading Actress
CYNTHIA ERIVO
Wicked
KARLA SOFÍA GASCÓN
Emilia Pérez
MARIANNE JEAN-BAPTISTE
Hard Truths
MIKEY MADISON
Anora
DEMI MOORE
The Substance
SAOIRSE RONAN
The Outrun
THE NOMINATIONS
Make Up & Hair
DUNE: PART TWO
Love Larson
Eva Von Bahr
EMILIA PÉREZ
Julia Floch Carbonel
Emmanuel Janvier
Jean-Christophe Spadaccini
Romain Marietti
NOSFERATU
David White
Traci Loader
Suzanne Stokes-Munton
THE SUBSTANCE
Pierre-Olivier Persin
Stéphanie Guillon
Frédérique Arguello
Marilyne Scarselli
WICKED
Frances Hannon
Laura Blount
Sarah Nuth
Johanna Nielsen
THE NOMINATIONS
Original Score
THE BRUTALIST
Daniel Blumberg
CONCLAVE
Volker Bertelmann
EMILIA PÉREZ
Camille
Clément Ducol
NOSFERATU
Robin Carolan
THE WILD ROBOT
Kris Bowers
CONGRATULATIONS TO THIS YEAR’S NOMINEES
We are proud to have supported:
BIRD | HOARD | IN CAMERA | KENSUKE’S KINGDOM | KNEECAP | SANTOSH | SISTER MIDNIGHT
Image: Kneecap
THE NOMINATIONS
Original Screenplay
ANORA
Sean Baker
THE BRUTALIST
Brady Corbet
Mona Fastvold
KNEECAP
Rich Peppiatt
Naoise Ó Cairealláin
Liam Óg Ó Hannaidh
JJ Ó Dochartaigh
A REAL PAIN
Jesse Eisenberg
THE SUBSTANCE
Coralie Fargeat
THE NOMINATIONS
Outstanding British Film
BIRD
Andrea Arnold
Tessa Ross
Juliette Howell
Lee Groombridge
BLITZ
Steve McQueen
Tim Bevan
Eric Fellner
Anita Overland
CONCLAVE
Edward Berger
Tessa Ross
Juliette Howell
Michael A. Jackman
Peter Straughan
GLADIATOR II
Ridley Scott
Douglas Wick
Lucy Fisher
Michael Pruss
David Scarpa
Peter Craig
HARD TRUTHS
Mike Leigh
Georgina Lowe
KNEECAP
Rich Peppiatt
Trevor Birney
Jack Tarling
Naoise Ó Cairealláin
Liam Óg Ó Hannaidh
JJ Ó Dochartaigh
LEE
Ellen Kuras
Kate Solomon
Kate Winslet
Liz Hannah
Marion Hume
John Collee Lem Dobbs
LOVE LIES BLEEDING
Rose Glass
Andrea Cornwell
Oliver Kassman
Weronika Tofilska
THE OUTRUN
Nora Fingscheidt
Sarah Brocklehurst
Dominic Norris
Jack Lowden
Saoirse Ronan
Amy Liptrot
WALLACE
& GROMIT:
VENGEANCE MOST FOWL
Nick Park
Merlin Crossingham
Richard Beek
Mark Burton
THE NOMINATIONS
Outstanding Debut by a British Writer, Director or Producer
HOARD
Luna Carmoon (Director, Writer)
KNEECAP
Rich Peppiatt (Director, Writer)
MONKEY MAN
Dev Patel (Director)
SANTOSH
Sandhya Suri (Director, Writer), James Bowsher (Producer), Balthazar de Ganay (Producer) Also produced by Mike Goodridge, Alan McAlex
SISTER MIDNIGHT
Karan Kandhari (Director, Writer)
THE NOMINATIONS
Production Design
THE BRUTALIST
Judy Becker
Patricia Cuccia
CONCLAVE
Suzie Davies
Cynthia Sleiter
DUNE: PART TWO
Patrice Vermette
Shane Vieau
NOSFERATU
Craig Lathrop
Beatrice Brentnerova
WICKED
Nathan Crowley
Lee Sandales
THE NOMINATIONS
Sound
BLITZ
John Casali
Paul Cotterell
James Harrison
DUNE: PART TWO
Ron Bartlett
Doug Hemphill
Gareth John
Richard King
GLADIATOR II
Stéphane Bucher
Matthew Collinge
Paul Massey
Danny Sheehan
THE SUBSTANCE
Valérie Deloof
Victor Fleurant
Victor Praud
Stéphane Thiébaut
Emmanuelle Villard
WICKED
Robin Baynton
Simon Hayes
John Marquis
Andy Nelson
Nancy Nugent Title
Pioneering the future of virtual production
Congratulations to all nominees and winners of the 2025 EE BAFTA Film Awards!
THE NOMINATIONS
Special Visual Effects
BETTER MAN
Luke Millar
David Clayton
Keith Herft
Peter Stubbs
DUNE: PART TWO
Paul Lambert
Stephen James
Gerd Nefzer
Rhys Salcombe
GLADIATOR II
Mark Bakowski
Neil Corbould
Nikki Penny
Pietro Ponti
KINGDOM OF THE PLANET OF THE APES
Erik Winquist
Rodney Burke
Paul Story
Stephen Unterfranz
WICKED
Pablo Helman
Paul Corbould
Jonathan Fawkner
Anthony Smith
HOME TO THE ARTS SINCE
1889
Official Hotel to the EE BAFTA Film Awards for 15 years.
THE NOMINATIONS
Supporting Actor
YURA BORISOV
Anora
KIERAN CULKIN
A Real Pain
CLARENCE MACLIN
Sing Sing
EDWARD NORTON
A Complete Unknown
GUY PEARCE
The Brutalist
JEREMY STRONG
The Apprentice
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THE NOMINATIONS
Supporting Actress
SELENA GOMEZ
Emilia Pérez
ARIANA GRANDE
Wicked
FELICITY JONES
The Brutalist
JAMIE LEE CURTIS
The Last Showgirl
ISABELLA ROSSELLINI Conclave
ZOE SALDAÑA
Emilia Pérez
EE is helping young people turn their passions into real roles in a film crew
SEARCH EE LEARN
RECRUITMENT ENDS APRIL 2025
THE NOMINATIONS
EE Rising Star Award
JHARREL JEROME
MIKEY MADISON
NABHAAN RIZWAN
MARISA ABELA
DAVID JONSSON
We are an industry of storytellers. Stories change lives – they influence how we think, how we behave and they inspire us. It is crucial that the stories that are being told, and the storytellers, truly reflect the society we live in.
To ensure this the screen industries must be open to talented people from all backgrounds.
At BAFTA we work year-round to identify and tackle barriers to opportunity, ensuring that the next generation of screen arts creatives are supported to fulfil their creative potential.
BAFTA is an independent arts charity and we need to raise all our own income. To support our work we rely on income from individual donations, trusts, foundations, corporate partnerships and membership subscriptions.
JURIES AND CHAPTERS
Juries
LONGLISTING JURY
Anna Higgs (Chair)
SJ Clarkson
Rebecca Davies
Nainita Desai
Sopé Dìrísù
Jo Hartley
Toby Hill
Franklin Leonard
Eddie Marsan
Rosy McEwen
Jason Solomons
Amanda Tabak
Rachel Wang
BRITISH SHORT ANIMATION JURY
Andrea Tran (Chair)
Lucy Goodman
Glynn Hayward
Steve Henderson
Monica Herman
Claire Jennings
Hannah Kelso
Sarah Ann Kennedy
Moya O’Shea
Aiesha Penwarden
Paul Stone
Joris Van Hulzen
BRITISH SHORT FILM JURY
Yaw Basoah (Chair)
Tom Berkeley
Stephanie Charmail Ikki El-Amriti
Fola Evans-Akingbola
Susan Kulkarni
Tobi Kyeremateng
Lucy Pardee
Sam Ritzenberg
Abolfazl Talooni
Rowan Woods
OUTSTANDING BRITISH FILM JURY
Emily Stillman (Chair)
Isra Al Kassi
Sarah Gavron
Pippa Harris
Col Needham
Orla Maxwell
Bart Ruspoli
Jason Solomons
Rajesh Thind
Anna Waterhouse
CASTING JURY
Emily Stillman (Chair)
Lourdes Faberes
Toheen Jimoh
Karen Lindsay-Stewart
Frank Moiselle
Stephen Moore
Sara Woodhatch
Jeremy Zimmermann
DOCUMENTARY JURY
Kat Mansoor (Chair)
Abigail Anketell-Jones
Jenny Ash
Joanna Boateng
Charlotte Cheung
Chloe Fairweather
Kathryn Ferguson
Camilla Hall
Marc Hoeferlin
Allan Hunter
Soudade Kaadan
Teddy Leifer
Paul Sng
Sharon Walia
CHILDREN’S & FAMILY FILM JURY
Rachel Wang (Chair)
Mic Graves
Briony Hanson
James Hickey
Debbie Isitt
Justin Johnson
David Martinez
Moira McVean
Andrew Miller
Dominique Moore
Ashanti Omkar
Faraz Osman
Kate Ringsell
Matthew Warchus
OUTSTANDING DEBUT JURY
Clare Stewart (Chair)
Naomi Ackie
Anthony Andrews
Anna Bogutskaya
Aisha Bywaters
Rose Glass
Brian Hill
Hong Khaou
Fiona Lamptey
Kristy Matheson
Misan Sagay
Elhum Shakerifar
With thanks to Clio Barnard and Neeraj Singh.
EE RISING STAR JURY
Anna Higgs (Chair)
Helen Bownass
Richie Brave
Aisha Bywaters
Lena DeCasparis
Yann Demange
Larushka Ivan-Zadeh
Mia McKenna-Bruce
Scarlett Russell
Marc Samuelson
Radhika Seth
Will Sharpe
Letitia Wright
With thanks to Lucy Bevan, Charles Gant, Nina Gold and Tom Macklin.
Chapters
CRAFT CHAPTERS
Acting
Casting
Cinematography
Costume Design
Directing
Editing
Make Up & Hair
Music
Production Design
Screenplay
Sound
Special Visual Effects
OPT-IN CHAPTERS
Animation
British Short Animation and British Short Film
Documentary
Film Not in the English Language
Craft chapters consist of Academy members with specialist experience in the relative field. Opt-in chapters are open to all members with direct experience or a keen interest in a relative area, who are willing to commit to watching the eligible films.
OFFICERS OF THE ACADEMY
HRH The Prince of Wales, KG KT President of BAFTA
Board of Trustees
Sara Putt Chair of BAFTA
Julie La’Bassiere Deputy Chair of BAFTA
Siobhan Reddy Deputy Chair of BAFTA
Anna Higgs Chair, Film Committee
Tara Saunders Chair, Games Committee
Hilary Rosen Chair, TV Committee
Ade Rawcliffe
Chair, Learning, Inclusion and Talent Committee
Bal Samra
Co-optee and Chair, Finance and Commercial Committee and Chair, Governance and Appointments Committee
Paul Taiano OBE
Co-optee and Chair, Audit and Risk Committee
Co-optees
Joyce Pierpoline
Patrick Keegan
Sally Habbershaw
Andrew Miller MBE
Patrick Keegan
Ralph Lee
Honorary Advisors
Medwyn Jones
Marc Samuelson
Executive
Jane Millichip Chief Executive Officer
With Thanks to Barbara Broccoli CBE, David Gardner OBE and Dame Pippa Harris DBE
Members of the Film Committee
Anna Higgs Chair
Emily Stillman Deputy Chair
Anthony Andrews
Iain Canning
Nainita Desai
Julie La’Bassiere
Ray Panthaki
David Proud
Jason Solomons
Barnaby Thompson
Rebecca Davies
Sopé Dìrísù
Sarah Gavron
Kat Mansoor
Rachel Wang
FILM AWARDS PARTNERS
With enduring thanks to our title sponsor and official partners to the EE BAFTA Film Awards in 2025.
TITLE SPONSOR
PLATINUM TIER
Official Jewellery and Watch & Nominees’ Party Supporter
Official Soft Drink
Official Champagne
Official Cinema Media
Official Hair
Official Water
Official Hotel
Official Wine
Official Scrutineers
Official Partner
Official Outdoor Media
Official Beauty
Official Partner
ACKNOWLEDGEMENTS
BAFTA WISHES TO THANK
EE - Our title sponsor
FILM COMPANIES AND DISTRIBUTORS FOR THEIR INVALUABLE ASSISTANCE
DAVID TENNANT - Host
CLARA AMFO, ALEX ZANE - Red carpet hosts
CHARLIE CLIFT - Portrait Photography
GETTY IMAGES - Media Partner
ALL STAFF AT BAFTA
AD EVENTS
BBC BRITBOX
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CREATIVE TECHNOLOGY
DDA
EMG
GINGER OWL
GETTY IMAGES
INGENIUS
LAST SUPPER
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PACE PRESTIGE SERVICES
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PENNY LANE ENTERTAINMENT
THEATRE SIGN
CREDITS
EDITOR - Claire Marie Healy
DESIGN & COVER ART - Fever Design Ltd
SUB-EDITOR - Alec Holt
PHOTOGRAPHY DIRECTOR - Claire Rees
AD SALES - Mollie Ratcliffe
JUNIOR PHOTOGRAPHY PRODUCER - Rebecca Gray
PRINTER - FE Burman Ltd
BAFTA chooses Arena Smooth by Fedrigoni Paper, supporting excellence in print. Printed on Arena Smooth Extra White 350gsm (cover) and Arena Smooth Extra White 140gsm (text). Supplied by FE Burman Ltd.
The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.
Certificate no.: CBP029147
The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable.
Best Film nominee imagery used with kind permission from the distributors. Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/ Sophia Spring (Jane Millichip), BAFTA/Ellie Smith (Sara Putt).
Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions.
No part of this publication may be reproduced without the written permission of BAFTA.
pu B lished B y BAFTA
Piccadilly London W1J 9LN
+44 (0)20 7734 0022 reception@bafta.org bafta.org
THERE’S MORE TO FILM CREDITS THAN MEETS THE EYE
EACH PERSON IS SOMEONE TO HELP MAKE
THAT’S WHY A NATIONWIDE TO CREATE A SHORT FILM THE NEXT GENERATION WITH INDUSTRY PROS PHONE FILMMAKERS BEDROOM DJS TRAVEL BLOGGERS
WHO FOLLOWED THEIR PASSION FILMS POSSIBLE EE HAS LAUNCHED COMPETITION CREWED BY OF FILMMAKERS AT THE HELM COULD BECOME COLOURISTS COULD SCORE SOUNDTRACKS COULD SCOUT LOCATIONS
FIND OUT MORE ABOUT HOW TURN THEIR PASSIONS
WE’RE HELPING YOUNG PEOPLE INTO ROLES IN A FILM CREW
