BFI Boss Ben Roberts, Picturehouse’s Clare Binns on Gen Z’s Cinema Renaissance, AI Slop and British Indie Film: “We’re Not Great at Comedy”
BFI chief executive Ben Roberts and Picturehouse creative director Clare Binns discussed the future of British independent film at the Edinburgh Film Festival, focusing on funding, audiences and cinema’s role in local communities. Roberts argued that publicly and Lottery-funded films can create value beyond box-office returns by helping launch careers, while warning that the UK independent sector needs to improve its approach to comedy and horror.
The BFI has £150 million to distribute over three years, largely from government grants and National Lottery income, although Roberts said its own funding remains relatively flat and it cannot apply for Lottery money because it administers it. He cited Tom Holland’s role in *How I Live Now* and Olivia Colman’s performance in *Tyrannosaur* as examples of publicly supported films developing major talent, and described cinemas as important community hubs that support high-street economies.
In short
- BFI leaders discussed pressures and opportunities for British independent film.
- Roberts says UK indie cinema needs stronger comedy and horror.
- Public funding can develop talent beyond immediate commercial success.
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Public funding for film creates cultural and economic value that commercial markets alone cannot generate. Developing emerging talent like Tom Holland and Olivia Colman benefits the entire industry long-term, whilst cinemas serve as genuine community hubs that strengthen high streets and provide gathering spaces beyond their commercial function. Some films have legitimate cultural worth even when box-office returns are modest, and public institutions have a reasonable role in nurturing them.
The case against
Public funds are finite and should prioritise essential services before supporting entertainment sectors that largely serve adult leisure. If films cannot attract sufficient audiences to sustain themselves commercially, that may reflect genuine audience demand rather than undervalued cultural products deserving subsidy. Cinemas compete with other entertainment and community spaces; there is a reasonable question whether taxpayers should bear responsibility for preserving cinema's viability specifically.
Explained simply
The British Film Institute (BFI) supports film-making and cinema in the UK, using public funding and money from the National Lottery. Picturehouse runs cinemas and chooses films and events for their programmes; its creative director Clare Binns and BFI chief executive Ben Roberts spoke at the Edinburgh Film Festival about the future of independent British film.
Independent films are made outside the biggest studio system and often have smaller budgets. Roberts said the value of public support can include helping new talent build careers, even when a film does not make much money at the box office. The BFI has £150 million to distribute over three years, but Roberts said its own funding is relatively flat.
The debate matters because independent films help shape what audiences can see and can provide opportunities for British film-makers and performers. Cinemas can also bring people into town centres and serve as local gathering places.
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