The UK Film Industry Soars to New Heights, But Is It Leaving Local Talent Behind?
2025 marked a monumental year for the British film industry, with a record-breaking $3.8 billion (£2.8 billion) invested in movie production—a staggering 31% increase from the previous year. But here’s where it gets controversial: only 7% of that massive budget was allocated to domestic productions, like Georgia Oakley’s Sense and Sensibility. The lion’s share went to big-budget Hollywood films shooting on UK soil, including Emerald Fennell’s Wuthering Heights, The Beatles – A Four Film Cinematic Event, and Supergirl. Co-production spending also took a hit, dropping by 14%, continuing a worrying trend that began in 2024.
While domestic spending did inch up by 4%, its tiny slice of the pie raises questions, especially given the introduction of a game-changing 40% indie movie tax credit in 2024. Shouldn’t local filmmakers be benefiting more from this incentive? And this is the part most people miss: despite the record spend, cinema admissions plummeted by a concerning 30%, falling below pre-Covid levels. What does this mean for the future of UK cinema?
In total, 193 films went into production in the UK last year, a modest increase of just two from 2024. Meanwhile, the combined spend on film and high-end TV hit £6.8 billion, the third-highest figure ever recorded. TV production saw a 17% rise to £4 billion, with major projects like Harry Potter, Slow Horses, and Outlander: Blood of My Blood leading the charge. Domestic TV productions included Blue Lights Season 3, Channel 4’s A Woman of Substance remake, and Matt Charman’s Prisoner for Sky.
BFI chief Ben Roberts celebrated the figures, stating, ‘The UK’s film and TV industries continue to drive significant investment and job creation, attracting ambitious international projects while showcasing our world-class talent and technical expertise.’ Culture Minister Ian Murray echoed this sentiment, highlighting successes like Wicked, Hamnet, Bridgerton, and Slow Horses. He also praised independent films like Pillion and The Ballad of Wallis Island, crediting the tax measures for bolstering the sector.
But here’s the kicker: Murray’s emphasis on existing tax measures might disappoint those hoping for an enhanced high-end TV tax credit, a move industry leaders have been advocating for. The current rebate, offering around 25% for shows costing over £1 million per hour, has been in place for over a decade and is widely viewed as a success. Yet, is it enough to keep pace with global competition and support homegrown talent?
Thought-provoking question for you: With Hollywood dominating UK production budgets, how can the industry better support local filmmakers and ensure the long-term health of British cinema? Share your thoughts in the comments—let’s spark a conversation!
