7 Mawrth 2023

Bydd saith sinema annibynnol yng Nghymru yn derbyn cyllid gan Ganolfan Ffilm Cymru dros y gwanwyn, er mwyn helpu gyda chostau cynyddol.

Wrth i ganolfannau ddelio â phwysau ariannol sylweddol, bydd y cyllid yn sicrhau bod ffilmiau annibynnol gorau’r DU a ffilmiau rhyngwladol yn cyrraedd cymunedau am bris fforddiadwy.

New resource published focusing on creating better experiences in cinema spaces for those from working-class backgrounds and/or those in poverty.

Working Class Inclusion: Audiences, Colleagues & Programming is a free resource to help cinemas be more inclusive.

Inclusive Cinema is launching a new free resource: Working Class Inclusion: Audiences, Colleagues & Programming, providing information and guidance to support exhibitors in improving cinema experiences for working-class people and those in poverty.

The resource comprises a series of six podcast episodes that cover a range of areas, from sliding-scale ticketing and equitable employment practices, to the films that are programmed and how they are presented. There is also an access and inclusion checklist to support venues, festivals, industry initiatives and event organisers with strategic and operational measures to welcome working-class audiences and colleagues.

Addressing the wider social context and responding to the omission of class or socio-economic position in the UK’s 2010 Equality Act, Dr Leanne Dawson (equality, diversity, and inclusion consultant, author, and academic in Screen Studies) was commissioned to explore the impact of cultural, social, and economic barriers on working-class people and their engagement with independent cinemas and pursuing careers in the industry.

Through sharing research and personal experiences, the series provides practical guidance and encouragement for organisations, outlining how positive interventions can lead to increased diversity across audiences and the workforce. It looks at the definition of ‘working-class,’ which groups many different experiences together — some people raised in poverty, others not, some in towns, some rurally, some with multiple diverse characteristics — and considers social mobility between classes and the impacts of financial income and cultural capital to participation in independent cinema.

Checklists outlining inclusion strategies and measures will accompany the podcasts. A film programming resource will also highlight the rich diversity of working-class stories and talent behind and in front of the camera, covering fiction features, documentary and short film. This will be complemented by ideas to make screenings available and more welcoming to working-class audiences, colleagues, as well as creatives, resulting in a deeper engagement with independent films and venues. Booking details and information on access materials, such as descriptive subtitles and audio description, will also be provided where possible.

Dr. Dawson explains why putting this resource together should be helpful to the exhibition sector:

Resource topics include:

• Why working-class people feel excluded: exploring how class intersects with other parts of identity and why many people who are working-class may feel excluded from independent cinema/film festival spaces and why measures are needed.

• Free and broader measures that can be put in place to increase inclusion and access, from practical no-cost changes to budgeted interventions for welcoming more working-class audience members and colleagues.

• How advertising, outreach, sliding scale ticketing a ‘pay it forward’ models to attract and retain working-class audiences.

• How inclusive programming should take into consideration the types of stories and identities being shown, who is making programming decisions and how programming can provide space and support for established and aspiring working-class filmmakers.

• Guidance on staffing and how to attract, support, develop, and retain working-class colleagues at all levels.

The podcast and accompanying documents will be available through the Inclusive Cinema website on 1st March 2023: inclusivecinema.org

Inclusive Cinema is led by Film Hub Wales and supported by the BFI Film Audience Network (FAN) – using funds from the National Lottery to ensure the greatest choice of cinema is available to everyone across the UK. Funds in Wales are administered by FHW via Chapter as the Film Hub Lead Organisation.

Caiff dros £30M ei godi bob wythnos ar gyfer achosion da ar draws y DU gan y Loteri Genedlaethol.

Rydyn ni’n creu amser i siarad am ffilmiau!

Ymunwch â ni ar-lein ar gyfer ein cyfarfodydd rhaglennu chwarterol lle byddwn yn siarad am ddetholiad o ffilmiau annibynnol a rhyngwladol newydd gorau Prydain.

Cynhelir y sesiynau gan y curadur Rachel Pronger. Bydd awgrymiadau ffilm ar gyfer eich rhaglen sydd i ddod, a chael amser i sgwrsio gyda chyfoedion am y ffilmiau rydych chi’n edrych ymlaen at eu gweld a darganfod ffilmiau y byddech fel arall yn eu colli. Byddwn hefyd yn trafod sut i raglennu a marchnata’r ffilmiau.

Bydd y sesiynau hyn yn rhedeg bob chwarter i'ch cefnogi gyda datblygiad cynulleidfa gydol y flwyddyn. Mae croeso i arddangoswyr o bob math – byddwn yn archwilio’r ffordd orau o wneud y sesiynau’n ddefnyddiol i bawb.

Ynglŷn â Rachel
Mae Rachel Pronger yn guradur, ysgrifennwr ac ymgynghorydd rhaglen. Cychwynnodd ei gyrfa yn gweithio ym maes cyfathrebu i Ŵyl Ffilmiau Llundain y BFI, Picturehouse Cinemas a Chanolfan Ffilm yr Alban, cyn symud i faes rhaglennu yn Alchemy Film & Arts, Tyneside Cinema, Sheffield DocFest ac Aesthetica Short Film Festival. Fel cyd-sylfaenydd cymundod ffilm ffeminist Invisible Women, mae Rachel wedi cyd-guradu rhaglenni a chynnal digwyddiadau ar gyfer partneriaid megis BFI Southbank, Cinema Rediscovered, Eye Filmmuseum Amsterdam, BalkanCanKino Athens, HOME Manceinion a Glasgow Film Theatre. Mae ei gwaith ysgrifenedig am ffilm wedi cael ei gyhoeddi gan gwmnïau megis Sight & Sound, The Guardian, MUBI Notebook, Little White Lies a BBC Culture. Mae hi hefyd yn rheolaidd yn cadeirio sesiynau holi ac ateb, paneli a gweithdai sy’n ffocysu ar ffeministiaeth, archifo a hanes ffilm.

Fforwm Ffilm (Ebrill) - Archebwch eich lle

Pryd: Dydd Mercher 22 Ebrill 2026, 10am - 12pm
Ble: Ar-lein (Zoom)

Fforwm Ffilm (Gorffennaf) - Archebwch eich lle

Pryd: Dydd Iau 23 Gorffennaf 2026, 10am-12pm
Ble:Ar-lein (Zoom)

Chwefror 13, 2023

Diweddariad gan y Rheolwr, Hana Lewis

Hoffwn gychwyn drwy ddiolch i bob un ohonoch am roi o’ch amser i fynych cyfarfodydd a chwblhau holiaduron yn ystod 2022, wrth i’r BFI ddatblygu eu strategaeth, Screen 2023. Mae’r ffaith ein bod ni wedi dod ynghyd gyda’r un nod o gefnogi arddangos ffilm yng Nghymru yn destun balchder i ni ac rydym wir yn gwerthfawrogi eich amser.

Bydd nifer ohonoch wedi clywed y cyhoeddiad diweddar gan y BFI bod Rhwydwaith Cynulleidfa Ffilm y BFI yn mynd i barhau tu hwnt i Ebrill 2023, fel rhan o’u Strategaeth 10 mlynedd Cyllid Loteri Genedlaethol. Mae’n bleser gen i rannu bod Film Hub Wales, gyda Chapter fel Sefydliad Arweiniol, yn un o 11 o bartneriaid strategol ledled y DU i dderbyn cyllid Loteri Genedlaethol gan y BFI i barhau i ddatblygu cynulleidfaoedd sinema ar gyfer ffilm annibynnol o’r DU a ffilm rhyngwladol.

Beth mae hyn yn ei olygu i Gymru? Bydd Canolfan Ffilm Cymru yn derbyn £895,500 dros dair blynedd (£286,900 bob blwyddyn). Bydd yr arian yn cael ei rannu rhwng datblygu sgiliau, ymchwil cynulleidfa, cyfathrebu, prosiect ‘sbotolau’ newydd a’r gronfa arddangos ffilm – a fydd yn cael ei ail lansio yn hwyr ym mis Mawrth / yn gynnar ym mis Ebrill. Bydd y bwrsari hyfforddi a’r potyn llain yn parhau i fod yn agored drwy gydol y flwyddyn, gyda chyllideb newydd ym mis Ebrill.

Rydym yn gwneud rhai newidiadau i’n rhaglenni yn seiliedig ar yr hyn ddwedoch wrthym yn ystod y cyfnod ymgynghori a’r heriau sy’n wynebu’r sector arddangos. Rydym yn bwriadu cynnal sesiynau rhaglennu ar-lein bob chwarter er mwyn cael cyfle i sgwrsio am y ffilmiau diweddaraf. Rydym yn bwriadu dod at ein gilydd yn fwy aml, gan gynnwys digwyddiad blynyddol lle gallwn rannu syniadau. Yn ogystal, rydym yn siarad ag Archif Sgrin a Sain Cymru ynglŷn â mynediad at gynnwys Cymraeg ac yn archwilio beth fyddai costau digideiddio teitlau allweddol.

Mae ein prosiect Gwnaethpwyd yng Nghymru (sy’n dathlu ffilmiau gyda chysylltiad Cymreig) yn cael ei gyllido tan 31 Mawrth 2023 ar hyn o bryd. Rydym wrthi’n gweithio ar gynllun cyllido ar gyfer y dyfodol, gyda ffilmiau megis Being Hijra a London Recruits yn ein calendr. Byddwn hefyd yn cydweithio â’n partneriaid Ffilm Cymru Wales / BFI Network Cymru i gefnogi gwneuthurwyr ffilmiau newydd ledled y DU.^ain 2023 ar hyn o bryd. Rydym wrthi’n gweithio ar gynllun cyllido ar gyfer y dyfodol, gyda ffilmiau megis India’s 1st Best Trans Model Agency a Comrade Tambo’s London Recruits yn ein calendr. Byddwn hefyd yn cydweithio â’n partneriaid Ffilm Cymru Wales / BFI Network Cymru i gefnogi gwneuthurwyr ffilmiau newydd ledled y DU.

Byddwn yn cydweithio â BFI Film Academy Plus, sydd newydd ei gyhoeddi fel y cynnig addysgiadol mewn canolfannau ledled y DU, a fydd yn helpu’r rheiny sydd rhwng 16 a 25 mlwydd oed i ffilmio llwybrau gyrfa a diwylliant. Bydd y cynnig yn cael ei redeg yng Nghymru gan Chapter a bydd cyllideb yn cefnogi dosbarthiadau meistr, dangosiadau a bwrsarïau. Bydd y cynllun yn helpu ffans ffilm ifanc i ddysgu am y diwydiant, gwylio sinema ddiwylliannol, dod i adnabod eu canolfannau lleol a datblygu sgiliau fel gwneuthurwyr ffilmiau a churaduron annibynnol.

Bydd rhagor o weithgareddau ar draws y Rhwydwaith Cynulleidfa Ffilm ehangach – byddwn yn trafod y rhain yn yr wythnosau nesaf wrth i’r cynlluniau cael eu sefydlu.

Yn olaf, mae’n flin gennym gyhoeddi bod prosiect RhCFf Sinema Cynhwysol (SC) yn dod i ben ym mis Mawrth. Mae gymaint o waith yn dal i’w wneud, ond rydyn ni’n falch iawn o’n huchelgais a’n cyfraniadau. Hoffem ddweud diolch o galon i bartneriaid a chynghorwyr SC. Rydym yn ffarwelio â Toki Allison, Rheolwr Prosiect talentog SC, wrth iddi symud ymlaen i rôl newydd gyffrous. Yn ystod wythnosau olaf y prosiect beth am achub ar y cyfle i ddefnyddio adnoddau newydd ardderchog, gan gynnwys Trans Loving Care a sinema Dosbarth-Gweithiol. Byddwn yn rhoi diweddariad dros y misoedd nesaf ynglŷn â sut i gael mynediad at yr adnoddau a grëwyd dros gyfnod y prosiect.

Rydyn ni’n gobeithio’n fawr y bydd modd i chi ymuno â ni yn Hub Helo yng Nghastell y Gelli, 23^ydd Mawrth, lle byddwn yn siarad am y flwyddyn i ddod.

Tan hynny – sinema am byth!

Inclusive Cinema launches a new T.L.C. (aka Tender Loving Care for Trans-Led/Trans-Loved Cinema) podcast resource that is creating a space for the trans community and cis allies alike to celebrate, learn and share.

Over four episodes, trans curators, writers, and thinkers in the realm of cinema unpack some of the challenges and joys about being a trans person in cinema, offering stories, research and advice to champion trans-led and trans-loved cinema to help firmly establish it as part of the wider UK film exhibition landscape.  

The podcast series and accompanying written resource documents a series of trans-focused film events from across the UK, from Orkney to London. Trans and non-binary programmers, filmmakers and speakers highlight the many ways to centre and celebrate trans cinema through rich insights and shared stories. Across in-depth intros, curious Q&As, friendly panels and engaged audience discussions, listeners and readers can expect to learn more about how to wholeheartedly support trans filmmakers and audiences.  

Highlights of the podcasts include:  

• An intimate introduction with Alice Blanc (they/them, founder of Trans+ on Screen) and Jaye Hudson (she/her, programmer at Fringe! Queer Film and Arts Festival London, and more), hosted by So Mayer (they/them). They talk through finding joy in film, safety strategies for trans team members in public events and creative thinking around the definition of ‘trans film’.  

• A playful panel discussion in Hawick delving into trans representation and collaborative filmmaking with programmer Milo Clenshaw (he/him, Alchemy Film & Arts) and speakers Rosana Cade (they/them), Ivor McCaskill (he/him), Natalie Ferguson a Katie Somers (all independent artists and filmmakers) 

• Insightful reflections on establishing a ‘trans film’ canon and how trans film can transcend not just gender binaries but established filmmaking norms by Lillian Crawford (she/her, freelance writer & researcher) talking about the classic Japanese Experimental film Funeral Parade of Roses. 

• A rich Q&A between Juliet Jaques (she/her, writer and filmmaker) and Sarah Pucill (she/her, film artist), at the Lexi, London, delving deeper into Sarah’s film Magic Mirror (2013); experimental filmmaking, transness, and the potential of gender freedom through the medium of film.  

• An exciting bonus episode to be released in spring, with programmer Bea Copland (she/her) in conversation with Laura Kate Dale (she/her) at the Phoenix Cinema in Orkney. Expect intriguing conversation around the intimate documentary Born to Be, which follows Dr. Jess Ting (he/him) offering gender affirming health care to trans and non-binary people in New York City. 

The written resource will expand on these themes, offering answers to tricky questions around programming trans film and filmmakers developing best practice for organisations and independent organisers.  

The podcast is launching on Podbean and will soon be available wherever you get your podcasts. You will find it on the Inclusive Cinema website along with additional written notes yma. 

T.L.C. aims to provide valuable advice to venues, practitioners and filmmakers looking to support trans inclusion in cinema, helping to address the historic imbalance of trans representation on screen.

So Mayer, project consultant, says:

This project is led by Film Hub Wales and supported by the BFI Film Audience Network (FAN) – using funds from the National Lottery to ensure the greatest choice of cinema is available to everyone across the UK. Funds in Wales are administered by FHW via Chapter as the Film Hub Lead Organisation.  

Caiff dros £30M ei godi bob wythnos ar gyfer achosion da ar draws y DU gan y Loteri Genedlaethol.  

1st February, 2023

BFI awards £15.2M National Lottery funding over three years to 11 UK-wide strategic partners as it begins to implement its recently published 10-Year National Lottery Funding Strategy from April 2023. The partnerships will enable the BFI to grow the activity it supports UK-wide, building on frameworks and networks established since 2012. This ‘good cause’ National Lottery funding aims to grow cinema audiences for UK independent and international film, support development of new filmmaking talent and ignite a passion for screen culture in young people.

Pivotal in delivering one of the BFI’s core principles of being UK-wide, the BFI will work with key partners across the four nations to ensure its National Lottery funding effectively responds to the varying needs of the public and industry in different parts of the country. It will see many funding decisions devolved or taken collaboratively, and activity tailored by those on the ground who understand their local landscape, have valuable community networks, and can best reach people in their local area.

Partners selected and funded to lead on activity across the UK are:

• In London, Film London to manage BFI Film Audience Network (FAN) and BFI NETWORK activity
• In the Midlands, Broadway in Nottingham a Flatpack in Birmingham to manage BFI FAN, BFI NETWORK activity and BFI Film Academy Plus
• In the North, Showroom in Sheffield a HOME in Manchester to manage BFI FAN, BFI NETWORK activity and Film Academy Plus
• In Northern Ireland, Queen’s University Belfast to manage BFI FAN and BFI Film Academy Plus; Northern Ireland Screen will deliver talent development activity as part of BFI NETWORK
• In Scotland, Glasgow Film Theatre to manage BFI FAN and BFI Film Academy Plus; Screen Scotland will co-fund talent development activity as part of BFI NETWORK as well as support BFI FAN
• In the South East, the Independent Cinema Office to manage BFI FAN, BFI NETWORK activity and BFI Film Academy Plus
• In the South West, Watershed in Bristol to manage BFI FAN, BFI NETWORK activity and BFI Film Academy Plus
• In Wales, Mae Chapter yng Nghaerdydd to manage BFI FAN and BFI Film Academy Plus; Ffilm Cymru Wales will deliver talent development activity as part of BFI NETWORK

Harriet Finney, Deputy CEO of the BFI, said:

Access to a rich variety of screen culture inspires and informs our future filmmakers and creatives. The funding decisions announced today enable our partners to deliver three distinct but interconnected areas of work. These organisations will provide highly visible cultural hubs that are largely based out of independent cinemas and film venues across the UK. Crucially, the funded partners will make audience and talent development opportunities accessible to audiences, young people and aspiring filmmakers across their respective regions or nations.

Continuing to support this UK-wide structure also responds to a consistent message heard throughout the extensive consultation with public and industry undertaken to develop the strategy: that every part of the country has a different set of needs, opportunities and challenges around screen culture, and local organisations are best placed to respond to these. Further UK-wide partners will be announced in the coming weeks, as recipients of National Lottery funding to support skills and education activity which will complement this work. Alongside BFI FAN, support of the exhibition and distribution sector is available via the BFI National Lottery Audience Projects Fund which is currently open for applications.

The £15.2m announced today aims to address a number of primary objectives of the BFI’s National Lottery Strategy. These include seeking to:

• empower children and young people to develop their own relationship with a wider range of screen culture – as viewers, creators or as part of the future workforce
• ensure people across the UK can access a wider choice of film and the moving image, including stories that authentically reflect their lives
• tackle a range of social, economic and geographical barriers for UK audiences
• support the skilling up of the exhibition workforce so venues are better equipped to thrive in an increasingly challenging marketplace
• open up opportunities to those who want to express their creativity through stories on screen and support and nurture their careers
• encourage innovation and back a wide range of stories that wouldn’t otherwise be told
• open up equitable and more visible routes into the sector

A collaboration of eight leading venues or film organisations representing the UK nations and regions, the BFI Film Audience Network supports a stronger and more connected approach to growing audiences for UK and international film on the big screen. FAN has over 1,700 members comprising cinemas, festivals, mixed-arts venues, community cinema and film archives, which can access training, funding, programming support and network opportunities.

BFI NETWORK exists to support, develop and champion new and emerging filmmakers across the UK. Working with partners, NETWORK has an on-the-ground presence in every UK nation and region, led by BFI NETWORK Talent Execs, to connect with and deliver support to new and emerging filmmakers. BFI NETWORK offers funding for short films and first feature development, as well as a range of professional development support to writers, directors and producers.

BFI Film Academy Plus, the newly named UK-wide in-venue education offer, helps connect 16-25 year olds with opportunities to pursue their love of screen culture and learn how to set about a career in the industry. Funding will enable venues across the UK to provide locally tailored support packages such as masterclasses, screenings and bursaries, helping them to learn more about the film industry, watch cultural cinema, become familiar with their local venues and develop skills as independent filmmakers, film curators or film industry new entrants.

The BFI National Lottery Funding Strategy aims to build a diverse and accessible screen culture that benefits all of society and contributes to a prosperous UK economy. At its heart are three core principles: equity, diversity and inclusion, so everyone can develop a meaningful relationship with screen culture, regardless of their background or circumstances; UK-wide, so that everyone across the four nations of the UK should be able to experience and create the widest range of moving image storytelling; and environmental sustainability, from reducing the BFI’s own carbon emissions to supporting wider industry efforts to get to net zero and address biodiversity loss.

Dydd Mawrth, 31 Ionawr 2023

Croeso i 2023 a llu o ffilmiau Cymreig i roi yn eich dyddiadur ar gyfer y sinema. Mae Canolfan Ffilm Cymru wedi rhoi detholiad o’r ffilmiau mwyaf disgwyliedig â chysylltiadau Cymreig at ei gilydd, a fydd i’w gweld mewn sinema yn eich ardal chi eleni.

Yn gyntaf, mae Timestalker. Mae’r ffilm, a gynhyrchwyd gan Vaughan Sivell a aned yn Sir Benfro, yn adrodd hanes rhamantydd diymwared sy’n teithio drwy amser (Alice Lowe) wrth iddi ddelio â chariad, marwolaeth ac ailymgnawdoliad.

Os ydych chi’n hoff o ffilmiau bywgraffiadol, cadwch olwg am Y Sŵn gan y bobl greadigol o Gymru y tu ôl i’r ffilm lwyddiannus o 2022 Gwledd (Roger Williams a Lee Haven Jones), sy’n adrodd hanes y gwleidydd eiconig, Gwynfor Evans, ac esgyniad S4C yn ystod oes Thatcher.

Ffilm arall y mae disgwyl mawr amdani yw Yr Almond and the Seahorse. Fe’i hysgrifennwyd gan Kaite O'Reilly o Lanarth, a dyma’r ffilm gyntaf i gael ei chyfarwyddo gan Celyn Jones o Ynys Môn, sydd â thrac sain gan Gruff Rhys (Super Furry Animals). Mae Rebel Wilson yn chwarae’r brif ran yn y ffilm fel Sarah, archaeolegydd uchelgeisiol, sy’n dygymod ag anaf trawmatig ei phartner i’r ymennydd.

Gall cynulleidfaoedd edrych ymlaen at storïau rhyngwladol gan storïwyr o Gymru hefyd, o apartheid yn Ne Affrica (Comrade Tambo’s London Recruits) to the first transgender model agency (Being Hijra). These films offer crucial representation for minoritised communities, within a Welsh context, giving us a platform to shape how we see ourselves as a nation and how others see us from across the world.  

Mae Radha Patel, Swyddog Gwnaethpwyd yng Nghymru Canolfan Ffilm Cymru, yn esbonio: 

Dywedodd Kaite O’Reilly, awdur ‘The Almond and the Seahorse’: 

Mae Emilie Barra, Pennaeth Marchnata Signature Entertainment, yn ychwanegu:

Mae prosiect Gwnaethpwyd yng Nghymru (MIW) Canolfan Ffilm Cymru yn dathlu ffilmiau â chysylltiadau Cymreig. Mae’n cynnig lle o weithgareddau trwy gydol y flwyddyn mewn partneriaeth ag arddangoswyr o Gymru, gan gynnwys catalog ffilmiau, sy’n cynnwys dros 600 o ffilmiau byr a phrif ffilmiau â chysylltiadau Cymreig.

Gall cynulleidfaoedd weld newyddion am ffilmiau sydd i ddod ar  yr adran gwnaethpwyd yng Nghymru ar wefan Canolfan Ffilm Cymru, neu drwy ddilyn @Filmhubwales ar y cyfryngau cymdeithasol. 

Mae MIW yn bosibl diolch i gyllid gan Cymru Creadigol a Rhwydwaith Cynulleidfa Ffilmiau (FAN) BFI, yn dyfarnu cyllid gan y Loteri Genedlaethol. Mae FAN BFI yn cynnig cymorth i arddangoswyr ledled y DU i roi hwb i raglennu diwylliannol ac ymgysylltu â chynulleidfaoedd amrywiol. Yng Nghymru, caiff y gweithgarwch hwn ei arwain gan Ganolfan Ffilm Cymru, sy’n cael ei rheoli gan Chapter.

-DIWEDD-

The Silent Twins brings the phenomenal story of the June and Jennifer Gibbons to cinemas across Wales and the UK on December 9th 2022.

Hailed at the Cannes Films Festival, the film tells the story of the sisters from Barbados, raised in Haverfordwest with a deep passion for literature and creative writing.

June was interviewed by The New Yorker in 2000 stating that, as the only Black family, they faced horrific abuse and consequently the sisters became each other’s greatest support system. They were inseparable, speaking a special language to each other that only they understood while becoming selectively mute to everyone around them. Later on in life, sectioned by a deeply unjust and racist mental health system, they continued to keep diaries, wrote stories, poems and novels and eventually pooled together to get one of their novels published.

This incredible true story brings their friendship, creative aspirations and traumatic experiences of navigating a white world, to life on the big screen.

In celebration of their writing and creativity, we’ve put together a list of films by and featuring Black-Welsh talent to highlight the importance of championing Black creatives from development to production and of course exhibition!

To book The Silent Twins for your venue please contact: [email protected]

Universal Pictures also have a number of exciting assets to support your screening including posters, quads, stills, trailers and more.

Dion Wyn Hughes is the Projects and Marketing Manager for Wicked Wales. He recently attended the International Youth Media Summit (IYMS) in Falkenberg, Sweden.

IYMS is an annual two-week event that brings together young people from different cultures to create media projects aimed at inspiring their own generation to take action and responsibility for the future. By confronting and examining global problems and exploring solutions together, they are bound in a shared purpose. Working toward a common goal and being accountable for a concrete creative product within a limited time period provides the perfect “stew” for collaboration. Here’s what Dion told us about the trip:

Throughout a fortnight, the challenge was to create a PSA (Public Service Announcement) over seven topics the IYMS wanted to eradicate in the world through diplomacy and film. They are youth empowerment, environment, violence, women’s rights, poverty, health and discrimination. Each group were split into young filmmakers, young diplomats and advisors who all worked together to create a short film about their subject matter with the help of their mentor who worked within the assigned fields. By the end of the summit, they would have a completed film that will be shared with international audiences at film festivals, on YouTube and through their partners, including UNESCO.

There are various ways to encourage and embrace heritage, language and culture, from Afghanistan to Nepal to Norway. Each day there were numerous opportunities to hear about different nations, how they promote their countries’ work, and the best models to exhibit the films. While many have expressed their frustrations about funding and sharing their voices globally, the summit allows you to develop and work on further collaborations beyond the two-week summit.

One of the main reasons Wicked Wales wanted to attend the summit was to engage with more young people. As they were the ones making the films and making positive changes in their communities, it was an enlightening experience. Hearing about the various programs they work on and their viewing habits benefited us as an organisation and for Wales as a whole. The diversity of delegates gave a fresh perspective on what works well for us and where we can improve and further diversity and inclusion in our sector.

The main takeaway from IYMS is the importance of international collaboration and working with organisations to improve our methods and share our own practices from Wales. We can learn so much from one another, and Wicked Wales has already begun a dialogue with partners in Sweden and Nepal on how we can collaborate further. Fortunately, through social media, we can now stay in touch with some of the great film societies we connected with and keep an eye on the ideas and programming that they’re doing. We hadn’t looked further afield until now, so I think this will benefit us when determining our own programme and events.

Dion attended the International Youth Media Summit with the support of Film Hub Wales via our Bursary scheme. If you want to attend a meeting, course or event that would benefit your organisation and develop audiences but the costs are prohibitive, you can submit an application for support here.

Dydd Mawrth 24ain Hydref, 2022

Gyda chefnogaeth Canolfan Ffilm Cymru fe fydd sinemau ar draws Cymru yn archwilio hud oesol Cymru ar sgrin y gaeaf yma gan gyflwyno hud, ysbrydion a chwedlau i gynulleidfaoedd Cymru, drwy dymor o ffilmiau a digwyddiadau am ddewiniaeth Cymru.

Fel rhan o'u 'Galwch Heibio Cymunedol' fe fydd Canolfan Gelfyddydau Wyeside yn cynnal dangosiad o Annwn ac yna trafodaeth Gwrachod Heddiw ar y Wrach Gymreig fodern. Gall cynulleidfaoedd alw heibio unwaith eto ar y 23ain ar gyfer recordiad o'r ail drafodaeth, dan arweiniad Off Y Grid, y cyfan am hanes ehangach menywod fel gwrachod yn y sinema.

Fe fydd Off Y Grid, rhwydwaith o saith o leoliadau ar draws gogledd Cymru (yn cynnwys Pontio) sydd yn cydweithio i gyflwyno‘r gorau o sinema annibynnol Prydeinig a rhyngwladol i gynulleidfaoedd Cymru, yn cynnal ail bodlediad byw am sinema arswyd a Gwrachod gyda dangosiad o ffilm arswyd arbrofol Gaspar Noe, Lux Aeterna.

Caiff y ddau ddigwyddiad eu recordio yn fyw ac ar gael i sinemau ar draws Cymru gyda chefnogaeth cyllid gan linyn Gwnaethpwyd yng Nghymru Canolfan Ffilm Cymru, sydd yn dathlu ffilmiau gyda chysylltiadau Cymreig. Gall cynulleidfaoedd fwynhau cyfres o ffilmiau ar thema gwrachod yn eu sinema leol, fel Gwledd, St Maud ac I am not a Witch, Rungano Nyoni sydd yn 5 oed ym mis Hydref.

Yng Nghymru cafodd pump o bobl eu lladd am ‘droseddau’ dewiniaeth. Gan dynnu ar wreiddiau Celtaidd a chysylltiadau dwfn gyda’r amgylchedd, roedd ‘defodau’, ‘gweddiau’, ‘bendithion’ ac arferion ysbrydol crefyddol heb fod yn Gristnogol yn gyfarwydd i’r Cymry oedd yn ymarfer dewiniaeth yn y cyfnod hwnnw, roedd yn hawdd gwahaniaethu gwir ddewiniaeth gyda’r cyhuddiadau. Yn y canrifoedd i ddilyn, roedd Cristnogaeth a deddfau llymach ynghylch siarad Cymraeg wedi rhoi pwysau ar genedlaethau i ildio rhagor o’u treftadaeth diwylliannol a diflannodd arferion dewiniaeth, yn araf.

Mae Radha Patel, Swyddog Gwnaethpwyd yng Nghymru Canolfan Ffilm Cymru yn esbonio pam bod y Ganolfan yn annog cynulleidfaoedd i ddysgu am hanes dewiniaeth:  

“Heddiw, mae cenhedlaeth newydd o wrachod Cymreig ifanc yn ymddangos ac yn edrych eto ar eu harferion a’u treftadaeth diwylliannol. Fe wnaeth cysylltiad ysbrydol unigryw Cymru gyda’r tir, cymdeithas gymunedol a synnwyr cyffredin achub miloedd o fenywod rhag cael eu lladd oherwydd ofergoeliaeth. Yn y dyfodol pa adegau newid bywyd allai gael eu hysbrydoli gan yr adferiad newydd yma mewn ysbrydolrwydd Celtaidd? Credwn y gall ffilm ein helpu i archwilio ac ateb y cwestiynau hyn.”

Mae Emyr Williams, Cydlynydd Sinema yng Nghanolfan Gelfyddydau Pontio yn ychwanegu: 

''Dydy sinema arswyd ddim wedi ei fwriadu i chi ei wylio ar eich pen eich hun – mae profiad cymunedol o arswyd yn rhywbeth rydym yn ceisio ei gynnig i’n cynulleidfaoedd. Mae ein penwythnos ar thema Gwrachod yn Pontio yn rho[‘r cyfle inni ddangos ffilmiau arswyd gwych ac ymgysylltu yn uniongyrchol gyda diddordebau ein cynulleidfa, drwy recordio dau bodlediad dwyieithog gerbron cynulleidfa fyw. Rydym wedi gwahodd arbenigwyr i drafod Dewiniaeth yn ei holl ffurfiau, o gwestiynu cynrychiolaeth sinematig a stereoteipio rhyw i ailedrych ar fytholeg a hanes cymdeithasol Cymru yn ogystal â dychmygu sut mae Gwrachod yn addasu i’r oes ddigidol.''

Dywedodd Ffion Pritchard, Cyfarwyddwraig ‘Annwn’:  

Mae Gwnaethpwyd yng Nghymru yn cynnig llu o weithgareddau drwy gydol y flwyddyn mewn partneriaeth gydag arddangoswyr Cymreig, yn cynnwys catalog ffilmiau gyda 600 o ffilmiau byr a hir gyda chysylltiadau Cymreig.

Mae Gwnaethpwyd yng Nghymru yn derbyn cyllid gan Creative Wales a chyllid y Loteri Cenedlaethol drwy Rwydwaith Cynulleidfa Ffilm (FAN) BFI DU gyfan. Fel rhan o FAN, mae Canolfan Ffilm Cymru yn datblygu cynulleidfaoedd ar gyfer ffilmiau annibynnol Prydeinig a rhyngwladol drwy gydol y flwyddyn. Gweninyddir cyllid yng Nghymru gan Ganolfan Ffilm Cymru drwy Chapter fel y Corff Arweiniol Canolfannau Ffilm.  

Caiff dros £30M ei godi bob wythnos ar gyfer achosion da ar draws y DU gan y Loteri Genedlaethol. 

-DIWEDD-

August 2022

New Website to Support Accessible Film Screenings for Deaf and Blind Audiences UK Wide

A new website designed to make cinema more accessible to Deaf and Blind audiences has launched in the UK.

Sidecard is a searchable database, which records details relating to film access materials, such as subtitle and audio description files.

The site, which is the first of its kind (in the UK), is intended to improve and promote accessibility, encourage learning and resource sharing across cinemas, film festivals and the wider film exhibition sector. The project is supported by BFI, awarding funds from the National Lottery.

Charlotte Little, Access Consultant and member of Sidecard’s working group, explains:

The site, a joint project of Matchbox Cine, Inclusive Cinema, Film Hub Wales, Film Hub Scotland and Independent Cinema Office, will invite users to upload details of subtitle and audio description files made to support accessible screenings and disc releases. Sidecard will also host glossaries and tailored guides to support distributors, exhibitors and film-makers to learn practically about making films more accessible.

Sidecard is named for the separate “sidecar” files that are created to make screenings and home viewing accessible to Deaf and Blind audiences. No such files will be hosted on the site, but their details will be logged – who made them, who commissioned them, against what version of what particular film – and contact details provided, so that whoever might want to make further use of them can request the materials and permission to use them.

Megan Mitchell, Inclusive Cinema Project Manager for BFI FAN explains:

The project was supported by BFI FAN – a UK-wide network made up of national and regional Hubs which seek to ensure the greatest choice of cinema is available to everyone across the UK. Inclusive Cinema is part of BFI FAN and coordinated by Film Hub Wales. 

Caiff dros £30M ei godi bob wythnos ar gyfer achosion da ar draws y DU gan y Loteri Genedlaethol.

– Ends –

Dydd Mawrth, 16ef Awst, 2022

Gwledd (The Feast), ffilm arswyd iasol Gymraeg ei rhyddhau mewn sinemâu yn unig ar Awst 19eg,eddrwy Picturehouse Entertainment. Dyma’r ffilm Gymraeg gyntaf i’w dangos i gynulleidfaoedd sinema ers rhyddhau’r ffilm ddogfen gerddorolumentary, Anorac yn 2019.  

Wedi’i gosod yng nghanolbarth Cymru, cafodd y ffilm ei gyrru gan dalent Cymreig. Wedi ei hysgrifennu gan Roger Williams a’i chyfarwyddo gan Lee Haven-Jones, mae’n cynnwys actorion amlwg Cymraeg Nia Roberts a Julian Lewis Jones, yn ogystal â thalentau newydd Steffan Cennydd ac Annes Elwy.  

Mae Annes Elwy yn chwarae Cadi – menyw ifanc sydd yn derbyn swydd fel gweinydd i deulu cyfoethog yng nghefn gwlad Cymru, ar drothwy parti pwysig. Wrth i’r noson fynd rhagddi mae’n dechrau herio credoau’r teulu gan ddatgelu’r twyll y maen nhw wedi ei greu gyda chanlyniadau brawychus.  

Mae’r ffilm yn arwyddocaol i Gymru, gan gyflwyno’r Gymraeg i gynulleidfaoedd newydd yn fydeang, tra hefyd yn ateb galw lleol gan Gymry i wylio straeon yn eu mamiaith. Yn draddodiadol mae cais wedi bod am fersiynau deuol o ffilmiau. Mae Gwledd, sydd yn Gymraeg yn unig yn creu llwybr ar gyfer ffyrdd newydd o weithio. Mae’n anrhydeddu’r Gymraeg a hefyd yn agor y drws ar gyfer gwneud rhagor o ffilmiau. Fe fydd cydweithrediad newydd rhwng S4C a Cymru Creadigol yn golygu y bydd miliwn yn cael ei fuddsoddi yn flynyddol mewn ffilmiau Cymraeg gan gefnogi ymrwymiad y Senedd i ddatblygu miliwn o siaradwyr Cymraeg erbyn 2050 a dangos newid cadarnhaol tuag at wneud ffilmiau Cymraeg.

Dywedodd Roger Williams, awdur Gwledd:

Cefnogir rhyddhau’r ffilm gan linyn Gwnaethpwyd yng Nghymru, Ganolfan Ffilm Cymru sydd yn dathlu ffilmiau gyda chysylltiadau Cymreig gan greu mwy o ymwybyddiaeth o straeon o gymunedau Cymreig a helpu i ffurfio ein hunaniaeth diwylliannol.

Dywedodd Radha Patel, Swyddog Gwnaethwyd yng Nghymru yng Nghanolfan Ffilm Cymru:   

Drwy Gwnaethpwyd yng Nghymru gall sinemâu ddangos cyfweliad arbennig gyda Roger Williams ac Annes Elwy, a hefyd traethawd creadigol gan yr awdur llawrydd ac ymchwlydd Rosie Couch, sydd yn edrych ar gyd-destun gwleidyddol ac amgylcheddol y ffilm. Mae Canolfan Ffilm Cymru a Picturehouse hefyd wedi cydweithio i sicrhau y bydd gan sinemâu Cymru fynediad i bosteri Cymraeg, rhagddangosiadau, disgrifiadau sain a phenawdau trwm eu clyw i wylwyr b/Byddar Cymraeg.

Derbyniodd Gwledd gyllid gan yr asiantaeth datblygu cenedlaethol, Ffilm Cymru Wales.

Mae Kimberely Warner, Pennaeth Cynhyrhcu Ffilm Cymru Wales yn esbonio pam bod y ffim yn arwyddocaol:

Mae Gwnaethpwyd yng Nghymru yn cynnig llu o weithgareddau drwy gydol y flwyddyn mewn partneriaeth gydag arddangoswyr Cymreig, yn cynnwys catalog ffilmiaugyda 600 o ffilmiau byr a hir gyda chysylltiadau Cymreig. Mae Gwnaethpwyd yng Nghymru yn derbyn cyllid gan Creative Wales a chyllid y Loteri Cenedlaethol drwy Rwydwaith Cynulleidfa Ffilm (FAN) BFI DU gyfan. Fel rhan o FAN, mae Canolfan Ffilm Cymru yn datblygu cynulleidfaoedd ar gyfer ffilmiau annibynnol Prydeinig a rhyngwladol drwy gydol y flwyddyn. Gweninyddir cyllid yng Nghymru gan Ganolfan Ffilm Cymru drwy Chapter fel y Corff Arweiniol Canolfannau Ffilm.  

Caiff dros £30M ei godi bob wythnos ar gyfer achosion da ar draws y DU gan y Loteri Genedlaethol. 

-DIWEDD-