BFI2022 to increase support for regional and grass-roots film-making; responds to Brexit challenges; could support more TV, Vr.
The BFI has unveiled its next five-year strategic plan for UK film.
BFI2022 follows up from the current five-year plan Film Forever, which concludes in March 2017, and will prioritise three drives: building audiences, learning and skills, and developing talent with an emphasis on diversity.
The UK’s lead body for films is set to invest close to £500m from 2017-2022 (which is a similar total to its previous five-year plan), made up of government grant-in-aid, BFI earned income and National Lottery funding.
The BFI2022 financial plan calls for £221.2m of the total £488.8m investment to come from government funding, BFI income generation, sponsorship and philanthropy, and the rest from Lottery funding.
Of the total, the biggest chunk (£179.5m) across the five-year strategy will go to the BFI cultural programme, with a further £30m earmarked for education (of which £24m will...
The BFI has unveiled its next five-year strategic plan for UK film.
BFI2022 follows up from the current five-year plan Film Forever, which concludes in March 2017, and will prioritise three drives: building audiences, learning and skills, and developing talent with an emphasis on diversity.
The UK’s lead body for films is set to invest close to £500m from 2017-2022 (which is a similar total to its previous five-year plan), made up of government grant-in-aid, BFI earned income and National Lottery funding.
The BFI2022 financial plan calls for £221.2m of the total £488.8m investment to come from government funding, BFI income generation, sponsorship and philanthropy, and the rest from Lottery funding.
Of the total, the biggest chunk (£179.5m) across the five-year strategy will go to the BFI cultural programme, with a further £30m earmarked for education (of which £24m will...
- 11/29/2016
- by matt.mueller@screendaily.com (Matt Mueller)
- ScreenDaily
Chicago – There is a tremendous excitement when a fresh director voice is realized, and writer/director/actor Benjamin Dickinson is one such discovery. His feature film debut is ‘Creative Control’ – which like previous futuristic films ‘Ex Machina’ and ‘Her’– explores sex and relationships through our technological evolution.
The film is set in the near future, in Brooklyn, and involves an advertising agency on the cusp of landing their biggest account, a company whose application creates Augmented Reality (Ar). David (Benjamin Dickinson is lead actor as well) is the account facilitator, and begins to use the technology for strange purposes, as in building a hyper-realized version of his best friend’s girlfriend, Sophie (Alexia Rasmussen). This begins a rift with his own live-in girlfriend, Juliette (Nora Zehetner), and a change in relationship with his best friend Wim (Dan Gill), not to mention a downward spiral regarding the important client.
Director Benjamin Dickinson...
The film is set in the near future, in Brooklyn, and involves an advertising agency on the cusp of landing their biggest account, a company whose application creates Augmented Reality (Ar). David (Benjamin Dickinson is lead actor as well) is the account facilitator, and begins to use the technology for strange purposes, as in building a hyper-realized version of his best friend’s girlfriend, Sophie (Alexia Rasmussen). This begins a rift with his own live-in girlfriend, Juliette (Nora Zehetner), and a change in relationship with his best friend Wim (Dan Gill), not to mention a downward spiral regarding the important client.
Director Benjamin Dickinson...
- 3/22/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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