Pat Llewellyn Bursary – Deadline 16th September

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The Pat Llewellyn Bursary fund is for the next compelling talent led documentary. Do you think you’ve discovered the next Stacey Dooley, Yinka Bokinni or Louis Theroux? Pitch us a winning proposal and not only will we give you £10,000, we’ll also match you with a mentor to help you make your idea happen.

To apply, we ask for 250 words to sell us your idea which should be suitable for commission by a UK broadcaster.

The 2022 Fund will give four successful applicants £10,000 each to develop their TV proposal. To celebrate Pat Llewellyn’s Welsh roots, and to encourage other women from Wales to follow in her creative footsteps, two places this year will be held specifically for any woman either born in or living in Wales, or with a Welsh parent.

The Fund is a collaboration between WFTV, the BBC, ITV, Channel 4, All3Media and The Welsh Government.


To be eligible to apply:
  1. You must be resident in the UK.

  2. A woman or anyone who self-identifies as a woman .

  3. You do not need to be a member of WFTV.

  4. If you are the owner of a production company, your annual turnover must be below £1m. In certain cases, verification of turnover may be required.

  5. To celebrate Pat’s Welsh roots and to encourage other women from Wales to follow in her creative footsteps, two places each year will be held specifically for women either born  or living in Wales or with a Welsh parent.

Shortlisted candidates will be interviewed by members of the awarding committee in the spring and the Bursary winners will be announced shortly after that.

How To Apply

Before you apply for this bursary, please make sure you have read the Bursary FAQs. These include important information about what you need to include in your application.

It is free to apply, but you may only submit one application with one idea. If you submit more than one application, or more than one idea in a single application, only your first submission/idea will be considered.

You can watch WFTV Chair Liz Tucker, explaining what the awarding committee is looking for and the key things you need to consider when putting together your application, on our Catch-up Hub.

Submit your application here. Deadline Friday 16 September 2022, 5pm.



Creative Producer Lab 2022 – Deadline July 15th

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Creative Producer Lab is returning this year with the aim to discover and develop the next generation of producing talent, and applications are now open. Taking place from August – November 2022, the Lab is open to aspiring, early-career Producers based in the North and the Midlands. Creative Producer Lab will bring together 8 participants from each region, connecting these thriving filmmaking communities through a series of workshops covering essential producing skills. Participants will leave the lab with a solid foundation in all practical aspects of managing a production, an expanded network of collaborators and peers, and the skills they need to make an impact in their local film industry.

Creative Producer Lab is supported by the BFI NETWORK teams at Film Hub North and Film Hub Midlands and delivered by Northern-based Producers Holly Carrington (Diploid Productions) and Barrington Paul Robinson (Redbag Pictures). As well as benefiting from insights from the Lab leaders, participants will hear from industry expert guest speakers and pick up specialist knowledge in key aspects of the production process.

Creative Producer Lab will consist of online talks and sessions, online and in-person mixers and visits to facilities houses. Sessions will take place twice per week on Tuesdays and Thursdays throughout late August and September covering issues such as producing fundamentals, building a slate, budgeting and scheduling, pre-production, shooting, post-production, casting and distribution.

Applications close at 1pm on Friday 15th July.

Who’s it for?

For people with a lively and proven interest in film producing. The ideal Creative Producer Lab candidate will have good communication skills, a commitment to storytelling and the ability to work collaboratively.

Applicants should be Creative Producers based in the North or the Midlands who are in the early stages of creating their slate. To be eligible for the Creative Producer Lab you must:

  • Have an interest in producing the work of others
  • Be over 18 and not in full time education
  • Have made one short film or theatre piece as a Producer or Production Manager, or have an equivalent level of experience across other roles (eg. Assistant Director, Project Manager or similar)
  • Have a passion for cinema and an idea about what stories you want to tell
  • Be based in the North of England or the Midlands
  • Be able to attend all of the weekly sessions outlined in the programme timeline below

If you’d like to know more about Creative Producer Lab, there will be an information session from 11am-12pm on Monday 11th July to ask any questions you may have about the programme. Information Sessions take place via Zoom and will be hosted by a member of the Talent Development Team. You can sign up for the information session here.

Draft Programme Timeline

  • June 21 – Open for applications
  • July 15 – Applications close
  • July 28 – Participants informed of selection & interviews booked
  • Aug 25-Sept 29 – Talks programme taking place Tuesday and Thursday evenings weekly
  • August Thu 25 – Talent Mixer
  • August Tue 30 – Meeting 1
  • September Thu 1 – Meeting 2
  • September Tue 6 – Meeting 3
  • September Thu 8 – Meeting 4
  • September Tue 13 – Meeting 5
  • September Thu 15   – Meeting 6
  • September Tue 20 – Meeting 7
  • September Thu 22  – Meeting 8
  • September Tue 27 – Meeting 9
  • September Thu 29  – Meeting 10
  • Kit House Visit TBC
  • Post House Visit TBC
  • November TBC – Leeds Film Festival meetup

How to apply

To apply, simply complete the online application form linked below.

The form asks you to share some information about yourself, your creative background, why you want to be a Producer and what kind of films you want to make. If you’d like to prepare offline before completing the online form, there is a downloadable list of the questions asked for reference. For some questions, there is the option to answer via a written response, or an audio or video recording. If you’d prefer to answer via audio/video, just upload the relevant file when prompted.

Applications close at 1pm on Friday, 15th July.

Apply now

Applicants will be notified of decisions on 28th July. Shortlisted candidates may be invited for a 20-minute interview as part of the process.

If you have any questions about the Lab or the application process, please send an email with the subject line “CREATIVE PRODUCER LAB APPLICATION” to our team at:

Creative Producer Lab is hosted by FHN and FHM and delivered by Diploid Productions and Redbag Pictures.



Slinky Productions Hiring a Student Production Assistant Intern

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Slinky Productions is hiring a Production Assistant Intern for a period of 12 Months Full-Time. This 1 year student internship placement is for University students studying Video/TV/Film. The Internship must form part of your course and be permitted by your University. If you have completed your course or have already graduated then unfortunately you cannot fill the position.

Internship Details

LOCATION: Based in Birmingham (UK), but you will be expected to travel throughout the UK – and occasionally internationally – when required.

DURATION: 12 months, full time (circa mid August 2022 to mid August 2023)

STANDARD HOURS: Monday–Friday 09:00-17:00 although you will be expected to work outside these hours, at weekends and bank holidays as and when production and filming schedules require.

SUBSIDY PAY: £750 per month student internship subsidy

HOLIDAY ENTITLEMENT: 20 days paid leave, plus statutory Bank Holidays

APPLICATION DEADLINE: Thursday 7th July 2022 (11pm)



Job Description

As a Slinky Productions Production Assistant and junior member of the Slinky team, you will have a great positive ‘can-do’ attitude and work ethic. You should be self-motivated, extremely organised and committed to your role in their close team. You will assist in a large range of production and business tasks, both in the office and filming on location.

The company produces a huge range of productions here at Slinky; from corporate and commercial promos, through to live event and conference videos, TV commercials, training films and animations. You will be comfortable in adapting and contributing to these styles and work well under pressure when required. To see the team in action, take a look at some of our Behind The Scenes videos here.

Some of the roles you will be involved with across the year include:


  • Assisting production planning and pre-production: including research, travel logistics, scheduling and call sheet drafting.
  • General assistance of crew, contributors and clients on shoots
  • Driving duties to/from shoot (if driving license available)
  • Shot logging
  • Manning the B-camera when appropriate
  • Assisting with and working alongside the post-production and animation department
  • Assisting in Quality Control checks
  • Lots of other production duty opportunities to nurture and grow your skill set – including filming and post production opportunities.


  • Equipment prep and pick-ups
  • Office housekeeping and systems
  • Assisting with general marketing and business development duties
  • Client hospitality and coffee runs


    • Confident English writing and typing skills
    • Comfortable with office applications such as Excel and Google Docs
    • Excellent communicator
    • Highly organised


  • Experience with Adobe CC
  • Driving license
  • Likes Back To The Future

To Apply

This position is only open to Video / TV / Film University Students. The Internship must form part of your course and have the permission of by your University. You are not eligible if you have completed your course, or have already graduated by then.

All applications must be made through the online application form here. Deadline Thursday 7th July 2022 (11pm). When you submit your application, you will automatically receive a copy via email, for your own reference. Strictly no phone calls to the production office please. Slinky Productions will only contact short-listed candidates.

Apply here.


Slinky Productions are a small-but-mighty busy video production company with large ambitions. They produce a wide variety of content working to very high standard with premium client service. Their roster of clients include Jaguar Land Rover, Autodesk, the NHS, L’Oréal, The PGA, West Bromwich Albion FC, Houses Of Parliament and Frankie & Benny’s – as well as many other small and huge interesting clients you’ve probably never heard of!




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Shropshire Stately Home Stars in New Hollywood Movie

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First World War drama Can You Hear Me?, written by and starring actress Charlotte Radford, will be filmed at Upton Cressett Hall, near Bridgnorth, beginning in March. The Severn Valley Railway and Pitchford Hall, near Shrewsbury, will also feature in the film.

In the mystery-romance, Facinelli will play Samuel, an American officer who is shot while fighting on the front line in 1918 France. The soldier “makes a bargain with the ‘Almighty’ to return to his bride in England, until the last bell tolls”. Upton Cressett Hall owner William Cash said Upton Cressett Hall would be clearly identified and play a prominent role in the film. He said he hoped that the movie would raise the profile of Shropshire as a visitor attraction, and boost the tourism economy in the area.

“Shropshire has a history in the film industry, being used for films including Atonement and Howard’s End,” said Mr Cash. “Hopefully it will bring people to Shropshire, and make people realise what a great and glorious part of England it is so that they want to visit.”

He added that Miss Radford got the idea for the film while staying as a guest at one of the holiday lets at Upton Cressett a couple of years ago.

“It is the first time we have had filming at Upton Cressett since the early 1970s when the BBC came to do a drama, so it will be the first time we have had filming for nearly 50 years.”

Simon Hunter, who is directing the movie, said: “It’s a unique and beautiful script. A sensual and romantic ghost story set in the dark days of World War One. The story deals with loss and how to let go of the ones you have loved. It’s a deeply moving supernatural journey which moves from the ferocity of the trenches of the western front to the haunting beauty of an English country estate. I’ve long been a big admirer of Peter’s work and it will be an honour to direct him in such a moving and poignant story.”

Facinelli most recently starred in thriller 13 Minutes, and also wrote and directed popular Netflix pic The Vanished.


Supporting Birmingham’s Independent Cinema Spaces

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Sammy Andrews is the Music Editor of Redbrick, the student publication of the University of Birmingham. In this article, she explains the importance of supporting Birmingham’s independent cinema scene. In her piece below, she writes on the importance of supporting these film theatres:

Standing as one of the oldest running cinemas in the United Kingdom, The Electric Cinema is a landmark for cultural history in Birmingham. The threat of its permanent closure during the pandemic was a really sad moment for film-lovers and the rich cinematic history that the building holds. But, in November last year, news broke that Kevin Markwick had bought the cinema and planned on re-opening it in the new year. In January 2022 its doors once again opened just as they did back in 1909, and it served as a brilliant reminder of the importance of independent and local cinema.

Kevin Markwick is himself from a family of cinema lovers, having followed in his fathers foot-steps in running the Picture House cinema in Uckfield, East Sussex. I attended one of the opening weekend screenings of The Apartment, and Kevin stood up and spoke to the sold-out audience, and what stood clear is that this for him is a huge passion project. There is a genuine love for cinema and the cinematic experience that comes with independent theatres, and his act to preserve this history in The Electric is evident.

With its re-opening comes the restoration of the 35mm projector, which has recently displayed films such as The Apartment and Liquorice Pizza. Offering both classic cinema and new and in-demand releases in such a unique viewing format, and offers a really special experience. You can sit back on the plush chairs with a drink and snack from the bar, and truly immerse yourself in the cinema-going experience – whatever your taste in film is. The Electric is also continuing to show older films such as Barry Lyndon, offering a chance to catch these fan-favourites on the big screen for what is, for most people, the first time.

Ironically, I think there is something to be said about Covid-19 and the increase in people wanting to go to the cinema now that they have re-opened. Film is a hobby that a lot of people have discovered and delved into over the pandemic. The return to cinemas has offered a lot of people a chance to either return to the escapism that you get when you immerse yourself in front of the big-screen and the speakers or discover this magic for the first time. It is something that a laptop screen or a television cannot quite capture.

But even more so, there is a really promising and exciting growth in the independent cinema industry in Birmingham, which the re-opening of the Electric Cinema stands as a symbol for. The Mockingbird Cinema in Digbeth successfully fundraised for a second screen and the MAC constantly shows a vast array of mainstream and smaller release films. Supporting independent cinema in Birmingham is no longer a case of seeking it out, there is plenty of choice for your taste.

This growth in independent Birmingham cinema speaks to a wider importance in supporting local and independent cinema. In supporting these cinemas, you are also supporting the local community and the culture and history that surrounds it. But you are also supporting film-lovers, and enriching a community that enables you to share in this passion and help to encourage its growth. It is a unique experience that gives back, and that is something that is often lost in wider-scale cinematic settings.

I, for one, will be making the most of all of the older film screenings that the Electric Cinema plans on holding, because I love the experience of seeing them on the wide screen for the first time. This for me, is the true magic of an independent cinema experience – the shared community of film-lovers that you get to share that love with, and in turn, enrich by supporting. With the re-opening of the Electric Cinema we can see this community grow, and a real piece of film history continue to live on for new generations of film fans.




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Brummie Writer Commended Among New Wave of Women Writers

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In a recent piece by the Guardian, Birmingham writer Kit de Waal was named among the current crop of “working-class women storming TV”. Asserting that television has been dominated by middle-class men for far too long, Assistant TV editor Hollie Richardson commended the “glorious wave of female drama makers are proudly putting their roots on screen”. Read it below:


Television is meant to be for everybody – but it isn’t. How can it be when, after nearly a century, it remains predominantly male, stale and middle-class? For decades, the industry has been talking about nurturing working-class writers at scale, rather than actually doing it. The lack of working-class voices – particularly female ones – has become so bad that the BBC admitted just two years ago that “often those from lower socio-economic backgrounds are depicted negatively, fuelled by stereotypes and seen as the object of ridicule” on screen.


But now, finally, working-class women are spearheading a big shift. So exciting is the rollcall of recent and upcoming TV shows written by working-class women that when I list them for Kit de Waal – whose BBC drama My Name Is Leon is among them – she utters two words of pure relief: “Thank f***.”

Name Is Leon

My Name Is Leon is an adaptation of De Waal’s heartbreaking 2016 novel set against the race riots in 80s Birmingham. Its journey to the BBC began after Lenny Henry – who recorded the audiobook – contacted her, asking: “Has this been optioned yet? It needs to be!” She trusted Henry to take the helm, and the adaptation now airs on BBC Two next month.

It follows mixed-race, nine-year-old Leon, who is growing up in the care system but never stops dreaming of reuniting with his mum and baby brother. While planning to run away with the 50p coins he pinches here and there, he makes an unlikely friendship with an allotment worker called Tufty, through whom he learns more about his identity. “All them see is your skin,” he tells Leon in between teaching him about plants and how to dance. “Don’t ever let anyone tell you what you can’t be.”

As a Brummie who grew up “poor, black and Irish” and worked in family law for many years, De Waal knows such territory well. “The biggest myth is that you don’t want to be working class – that you’re desperately trying to be middle class,” says De Waal of one of TV’s most enduring tropes: a person wanting to “escape” through social mobility or a lucky break. It’s something that has its roots in a lack of working-class writers, and which De Waal shuns, trying instead to celebrate working-class life.

Regardless of the TV genre, having such a celebratory writer makes a huge difference. While working-class characters are too often reserved for crime shows – and their frequently negative stereotypes – in the right hands a detective show can feel pleasingly representative of the real world. “Sally Wainwright, who cut her teeth on the soaps, is very good at exploring working-class lives on Happy Valley,” says De Waal. “Yes it’s a police procedural, but it is much more than that – it isn’t about this ‘desperate’ family.”

Ofcom’s latest Diversity and Equal Opportunities in UK Broadcasting report found that in 2020-21 the proportion of women in the television industry was 47% (though only 16% of these are 50 and over). When it comes to class disparity, however, socio-economic background isn’t even a protected characteristic under the Equality Act 2010. Nonetheless, Ofcom has included it for the past three years, confirming that things haven’t improved much today: workers are nearly twice as likely to have attended private school compared with the UK benchmark, while 59% have grown up in homes where the main earner had a professional occupation. And, with 72% of all staff working in TV being white, there is a serious lack of working-class Black, Asian and minority ethnic voices.


So many working-class stories are refracted through a middle-class prism that Lowborn author Kerry Hudson was shocked when the BBC commissioned her to write about poverty. The recently aired Skint is a series of monologues written, performed and produced by people with experience of poverty – curated by Derry Girls’ Lisa McGee. Hudson’s script told the frustratingly all-too-real story of mother-of-one Hannah (played by Emma Fryer) who is one of the UK’s hidden homeless, despite having a job and being in a loving relationship. “Zero-hour contracts means zero chance of anybody renting to you, so we were stuck in that place with the drifters and dirty, damp studios,” Hannah says, before explaining they were kicked out after she became angry when another lodger stole her son’s first birthday cake.

“I don’t think putting on a collection of monologues is an easy choice by any means,” says Hudson, admitting she was initially sceptical. “I think most people living [or who have lived] in poverty would be slightly cautious working with production companies, because we’ve seen how horribly wrong it can go.” But, she says, “they did it with real integrity – making sure people got their first credits, which is a way of trying to address the social imbalance in TV. And Lisa wanted our real experiences to shine through.”

Coming Undone

The more working-class people there are behind the scenes, the more it will encourage to tell their stories. Netflix is adapting Coming Undone, the memoir of Terri White, which details what happened when the magazine editor ended up in a psychiatric ward in New York. It unflinchingly unpicks her formative years of abuse, poverty and alcoholism, and the working-class team adapting it played a huge part in it ever reaching our screens.

“Would I have got through the door if it wasn’t for [the show’s executive producer] Kate Crowther recognising my story?” says White. “I don’t know if a middle-class man would have had the same reaction to my book.” It is an undeniably brutal story, but White is adamant it’s not to be treated as a “misery memoir” (another reliable trope), which is where having Crowther helps again: “She saw the black humour, she recognised all the nuances in it – and I think that was definitely informed by her class.” And with Billie Piper announced as the lead, it’s set to be big: “She’s completely fearless,” says White. “Incredibly empathetic, incredibly intelligent – it’s a bit of a dream come true.”


Taking more creative control like this is one way of ensuring that working-class stories are told in a truthful way. Candice Carty-Williams, who has been working on two scripts since 2019, has no qualms about going at her own pace. Queenie, based on her bestselling novel of the same name, is coming to Channel 4 later this year. It follows a twentysomething journalist in London whose life starts to unravel when she takes a break from her long-term boyfriend. Upcoming BBC drama Champion is her other highly anticipated project, a love letter to Black British music in south London, centred on a brother and sister who are both trying to become rap stars. “I probably annoy a lot of people but it’s the reason my work does well,” she says of her approach on both shows. “I have a vision for it and I see it through.”

The world of TV is tough if you are not moneyed and even worse if you’re Black, says Carty-Williams, who worked in the predominately middle-class publishing industry before her success with Queenie: “I’ve had to really push back on a lot of things, make sure the tone is right, make sure the white characters aren’t pushed to the forefront so the Black characters are just in the background – these are all things I’ve been ensuring don’t happen.”

Carty-Williams feels that, despite the recent wave of female-led, working-class TV shows, the industry still isn’t treating working-class talent seriously. “I think it’s on its way, especially with subscription platforms offering more space. But I also know what it is like being in the industry and how it works. It still seems that executives take this idea or a story from someone who is working class, then that is written by moneyed people and put on the screen.”

This is something all the women interviewed are very clear on: they couldn’t have worked in TV without the time and finances afforded by their already successful careers. “The system enables you to tell the story when you get a bit more comfortable and you’ve got some money to see it through,” says De Waal, explaining that developing a script and getting it into production can take years, and there isn’t a monthly wage during that time to keep you going. Is it still only possible for people removed from their working-class experience to write about it? Sure, there are writing schemes to take advantage of but, as Hudson says, it’s little wonder the “worthy poor person” trope is still going strong when the system itself still operates that way.

“Would I have written a book and done this if I hadn’t had a successful career in magazines first? Probably not,” says White. She does, however, make a point of referring to Cash Carraway, the Skint Estate memoirist who is now beavering away on BBC original drama Rain Dogs: “She powerfully wrote about poverty while living in poverty – she wrote about not having to be free of situations to write about it. I think that’s really important.” How can this become less of a rarity? “I don’t know the answer to that.”

My Name Is Leon is coming to BBC Two in June



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BT Sport announces Super Villans premiere date

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BT Sport Films production Super Villans will debut on BT Sport 1 at 10.30pm on 18 May.

The documentary sees actor and famous Aston Villa fan Mark Williams narrate the story of how Aston Villa became Football League and then European champions in 1981 and 1982. It pays tribute to the achievements of Ron Saunders, Tony Barton and the Villa team on the 40th anniversary of their European triumph.

The story begins in 1974 when Ron Saunders became manager and takes them back into the First Division a year later. It goes on to detail how the team fought off Liverpool and Ipswich Town to the First Division title in 1981, before beating Bayern Munich in the European Cup final a year later.

It features contributions from Villa’s Championship-winning captain Dennis Mortimer, and others such as Gary Shaw, Allan Evans, Tony Morley and Nigel Spink, and was directed by Mark Sharman.

Sally Brown, executive producer of BT Sport Films, said: “We are proud to present Super Villans as the latest instalment in the BT Sport Films series which pays homage to Aston Villa’s meteoric rise to double Championship glory, forty years on from the greatest night in the club’s history.

“The film is a joyful celebration of a team of underdogs who went on to conquer England and Europe, uncovering some of the barely believable tales along the way from those who lived it. The club’s remarkable journey from the Third Division to being crowned champions of Europe is one of the greatest stories ever seen in English football and we are delighted to bring this inspiring feat to life on screen. We’d like to thank all of those working with us to help make this documentary happen.”

Super Villans will premiere on Wednesday 18 May at 10.30pm on BT Sport 1 and will be available to watch on the BT Sport app and website afterwards.



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“Bluff” by Filmmaker from Lozells, Birmingham Lands on Amazon Prime

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A Lozells director is overwhelmed by glowing reviews of his debut Amazon Prime film. ‘Bluff’, shot by Muslim filmmaker Sheikh Shahnawaz, is now screening on the global subscription service.

Incredibly, the feature-length thriller cost only £1,500 to make – with one-man crew Mr Shahnawaz also producing and writing the film’s script. Filmed entirely in Birmingham, it follows the story of an undercover cop posing as a heroin addict. He conceals his identity to infiltrate a dangerous drug network.

Since launching on the streaming service, the Lozells-born director has been contacted by strangers around the world who were touched by his work.

The 27-year-old told BirminghamLive: “It’s been amazing to read reviews from strangers around the country and other parts of the world. One woman cried when she watched Bluff because she lost her son-in-law to heroin addiction. I feel incredibly happy to finally share it with audiences. You don’t make art only for yourself – you also want to share it with others.”

The Making of ‘Bluff’

Most of the crime flick is shot in Lozells, Handsworth, Edgbaston and the city centre. It has an entirely Midlands-based cast.

“Bluff was made over the last two years on a £1,500 budget,” said Mr Shahnawaz. “I was forced to make this film with my own resources.”

Mr Shahnawaz is dedicating Bluff, first shown to a Birmingham audience in October last year, to his late father who passed away from a heart attack. The former Coventry University media student said: “It’s deeply personal. Not only having to deal with my father’s death, but also because it’s set in Birmingham and deals with homelessness and the illicit trade of heroin – prevalent issues here.



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Midlands Movies Awards – June 11th

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Midlands Movies Winners will be announced at an awards ceremony on Saturday June 11th at The Y Theatre in Leicester. These Midlands ‘Oscars’ are a platform to honour the local films released in the previous 12 months. Even with the challenges experienced last year, over 130 completed films were submitted in 2021 and the awards again brought attention to the many amazing local films completed in difficult circumstances.

Click here to view the nominations for its awards across 16 hotly-contested categories. Local writer and actor Steve Oram will be amongst the judges at Leicester‘s The Y Theatre this June as it hosts the sixth annual Midlands Movies Awards. Steve Oram is a star of TV and film, with roles in Paddington, The World’s End, Line of Duty and Dr Who, and his breakthrough came in award-winning comedy ‘Sightseers’, directed by Ben Wheatley (Free Fire, Netflix’s Rebecca).

Midlands Movies editor Mike Sales said: “Two years ago, our awards event ran just days before the national UK lockdown in March 2020. But even though we faced delays, the 2021 event did happen and effectively ‘book-ended’ the COVID period for many filmmakers. The hard but safe filming undertaken during lockdowns didn’t prevent over one hundred films from being submitted, and we received a similar amount this year.”

Working with other jury panel members, Steve joins Midlands Movies to reward the region’s movie-making talent across categories such as Picture, Best Actor/Actress, Best Director and more. The awards will be a platform to honour local films, with nominations and winners chosen by an experienced jury comprised of industry experts. It also comprises industry representatives, including: Denyce Blackman (Film Birmingham), Mark Woodyatt (Mark & Me podcast), Natasha Wilson (Film Hub Midlands), Kelly Jeffs (CEO Lighthouse Cinema), Tim Coleman (Film writer), Mike Sales (Midlands Movies). Steve will be deciding the winner of the Best Short category.

Each year, the Midlands Movies Awards is brought by a group of film fans pooling the expertise of volunteers while celebrating the creativity of artists and actors and a collective passion for the movie community in the region.

Mike Sales said: “We have again been lucky to have the backing of filmmakers and film fans to keep the awards a special place for everyone. And the feedback from the incredibly diverse and experienced jury panel has been fantastic, with each one incredibly excited to watch all the films involved.”

The Midlands Movies Awards were run at the Y Theatre in September 2021, meaning a face-to-event has occurred every year despite the challenges caused by COVID.

How to Attend Midlands Movies Awards 2022

Doors open at 7pm, with the ceremony between 8pm – 11pm (approx.). Following the red carpet and awards, attendees are invited to join together afterwards at Firebug Bar in Leicester city centre (10-minute walk from venue, open til 4am) for an informal meet-up to continue the evening’s celebrations. Buy your tickets here.

Click here to view the nominations. For more information, visit the website here.



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Midlands Movies Nominations 2022

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Midlands Movies Editor Michael Sales and BBC Radio Presenter Ed Stagg announced the nominations for the 2022 Midlands Movies Awards. A big thanks was given to the entire Jury Panel who gave up their precious time to watch a huge selection of over 100 films and had such a difficult time choosing from the excellent number of films from the region.

The panel is headed up by Steve Oram who will be deciding the winner of the Best Short category. It also comprises key industry representatives including Denyce Blackman (from Film Birmingham), Mark Woodyatt (Mark & Me podcast), Natasha Wilson (Film Hub Midlands), Kelly Jeffs (CEO Lighthouse Cinema), Tim Coleman (Film writer) & Mike Sales (Midlands Movies).

You can read the full list of Midlands Movies nominations across all 16 categories below and watch the announcement videos via Facebook (Part 1 here & Part 2 here)


Best Documentary

The Art of Oppression by Patricia Francis

Layers by Lee Page and Micquel Wright

Neilation by Brian Harley

From the End of the Road by Ben Crawford


Best Actress in a Leading Role

Lizzie Clarke for Ned & Me

Carmella Corbett for Her Majesty

Janet Etuk for Cold

Esther McCormick for Rudy

Beatrice Allen for The Heart Asunder


Best Animated Film

Emily the Little Match Girl by Matt Hickinbottom

Fires of Serenity by James Pyle

Treasure by Samantha Moore


Best Director

Rebekah Fortune for Her Majesty

Shona Auerbach for Rudy

Philip Stevens for Lapwing

Lorna Nickson Brown for Ned & Me

Claire Coaché & Lisle Turner for Cold


Best Sound (Editing or Mixing)

James Foster for Wrong Way Up

Stephen Theofanous for Repeat

Keith Tinman for The Fort

Matthew Jones, Susan Pennington & Gaz Bailey for Lapwing

Andrei Korotkov for iHands – A Life Less Lived


Best Actor in a Supporting Role

Edward Crook for Finger Prick

Yoni Nadav for Doghouse

Francis Terry for Loneliness

Craig J Simons for Perdition

Andrew Readman for Tales of Creeping Death


Best Visual Effects

Mike Choo for A Change in Time

Richard Miller & his team for Repeat

Gary Pollard for Tales of the Creeping Death

Jake Jay Eden for September, October, November

James Millar and Phil Chapman for Swine


Best Cinematography

Gary Rogers for Fixed

Haridas Stewart for Her Majesty

Jonathan Zaurin for Wyvern Hill

Christian Cole for A Personal Errand


Best Costume & Makeup & Hairstyling

Hannha Hodge for Exiled: The Chosen Ones

Ben Errington for Wyvern Hill

Stephanie Harrison & Zoe Graham for Her Majesty

James Millar, Phil Chapman, Keira Miller & Kaz Preston for Swine

Pauline Loven, Taryn Gladding, Sarah Tribe, Samantha Chapman and Jane Hyman for Lapwing


Best Actor in a Leading Role

Dylan Llewellyn for Finger Prick

Nicholas Clarke for Fixed

Manpreet Bachu for Slave to the Page

Sonny Michael Chohan for Two and a Half Minutes

Charles O’Neill for You Are My Sunshine


Best Editing

James Millar for Swine

Lisa Rustage for Stained Canvas

Guy Nicholls for Who Said Love Is Dead

Daniel Harden for A Personal Errand

Anthony M. Winson for Children of Darkwood House


Best Music (Score or song)

Lee Gretton for Lapwing

Matthew Hickinbottom for Emily the Little Match Girl

Elizabeth Purnell for Treasure

Danny Rowe for September, October, November

Mike Riley for Foul Play


Best Actress in a Supporting Role

Nina Wadia for Repeat

Chrissie Wunna for Stained Canvas

Laura Rollins for Fortune Cookie

Alice Knights in Rudy

Barbara Marten in Her Majesty


Best Feature

Rudy by Shona Auerbach

Tales of the Creeping Death by John Williams

Repeat by Richard Miller

Fixed by Jez Alsop

Lapwing by Philip Stevens

Cold by Claire Coaché and Lisle Turner


Best Writing (Original/adapted)

Gary Cattell for The Morality of Lying

Lizzie Clarke for Ned & Me

Laura Turner for Lapwing

Wayne Nelson for Loneliness

Carmela Corbett for Her Majesty


Best Short Film

September, October, November by Charis McRoberts & Ruth Mestel

Slave to the Page by Ravi Ghelani

Ned & Me by Lorna Nickson Brown

A Change in Time by Pat Knight

Her Majesty by Rebekah Fortune

Treasure by Samantha Moore

Doghouse by Craig J Simons

Fortune Cookie by Georgia Hampson