Diffwys Criafol is the pen-name of a Cardiff based writer with a deep interest in social class. The themes around her work centre around this subject usually in relation to her own life experience. Find her on Linktree / Instagram
Translated into Welsh by Mair Lannen
“[Welsh culture is] a post-colonial culture, conscious all the time of its own real strengths and potentials, longing to only be itself, to become its own world but with much, too much on its back to be able, consistently, to face its real future” – Daniel Williams on Raymond Williams work in the introduction of ‘Who Speaks for Wales’ 2008
This is a film reckoning not only with the story of one family, but with the dizzying speed of change that has occurred in Wales over the 20th century. Haunted by the past, bewildered by the present and looking to the future with a careful hope.
“Do not go Gentle” was released in 2001 but was set in the period running up to the 1997 UK general election – the climax of the film coinciding with the election results night when “New” Labour won after 16 years of Tory rule. However, this is not just a historic-political film, or a film about the problems of aging in an increasingly individualistic neoliberal society. It goes much deeper. Its portrayal of the family dynamic, speaks to the fundamentals of our psychology as a colonised people. Torn between assimilation into joining and participating in a system of impersonal brutality versus the counter struggle to this – the impulse to hold on to our culture, language, class and place.
For me, the characters are an allegory of the class tensions and directions in the context of Welsh speaking Wales – known in Welsh as ‘Y Fro Gymraeg’. William Davies, the Father, appears to have Alzheimer’s disease and needs to be looked after – but who is going to take responsibility for his care? William Davies, a former quarryman and Elder (Blaenor) in the Chapel is a classic depiction of the traditional Welsh working class man of the 20th Century.
The ensuing conflict between his children on the subject of William’s care becomes a personification of the class tension arising from fluctuating class mobility in families. The eldest son – John Meredydd – who is upwardly socially mobile, Maureen – a single mother, meanwhile, is relegated downwards. Alun Cledwyn, the third sibling is at a crossroads, struggling to hold on to the middle class life he has built while contending with his chronic illness of alcoholism.
John Meredydd, who has physically and mentally distanced himself from the family to make his fortune, now looks down upon his (working class) family with disdain. Maureen is expected to do the unpaid caring labour, raising her three children alone and juggling two jobs. Alun Cledwyn is torn between ‘Y Fro Gymraeg’ and the world, his middle-class aspirations in contradiction to his connection to home, his ‘etifeddiaeth’. The amalgamation of land, community, language, family and Welshness itself – at one point in the film described as a noose around his neck. These are the contradictions of Welshness distilled to its clearest form.
This film also skillfully depicts the human consequences of the privatisation of care. We bear witness to how such state policies rob individuals and their families of their dignity in the last months of life.
The title of this film in Welsh is “Oed yr Addewid” which literally means “The Promised Age”. In Welsh language culture (but originating from the Bible) this saying means that we are “only promised to live to 70” – everything after that is just a bonus apparently! The opening of the film is Willam’s 70th birthday. It feels significant to me that since this film was first released, these precious few years of retirement before our “promised time” is now spent working. Since the Millenium, the one sided class war against us has gone into overdrive. We can no longer expect to look forward to a few years of rest and family time in retirement while we still have their health. Now, many people (my own father being one of them) are working physically demanding jobs well into their 70’s while contending with a range of health conditions.
The depictions of class throughout the film are beautifully thoughtful and nuanced. This is a rare cultural artifact that I feel succeeds in honoring the complexity of class in the Welsh speaking context. This is especially interesting today after what feels like an age of endless austerity since the 2008 crash that has plunged 22% of adults and a third of children into poverty in Wales, with much of this concentrated in the Welsh speaking heartlands.
This is a film that has retained its relevance to our contemporary lives. The simultaneous crises co-occurring within one family, their relationships to one another, and its bravery in dealing with subjects that many of us would frankly rather not face. Death, insanity, class, identity, the loss of meaning. The intensity and existential angst of Welsh speaking communities. Addiction, gender roles and how we treat our elderly are all themes raised in this film. There are plenty of challenging subjects, however, for me, it felt cathartic to watch.
The film is imbued with a sense of determined hope, the dark humour and sharp working class wit in the dialogue helps carry the heavy themes. This was genuinely one the best films I have watched in a long time in any language. Its release is timely – we need to face the issues raised in this film on individual and collective levels now more than ever.
A new scan of Oed Yr Addewid is coming to cinemas in 2025 from The National Library of Wales Screen and Sound Archive in partnership with Film Hub Wales.
This article was commissioned by Film Hub Wales as part of our Made in Wales strategy, which celebrates films with Welsh connections, thanks to funding from Creative Wales and the National Lottery via the BFI.
It was first published in Buzz Magazine.
A new scan of Oed Yr Addewid (Do Not Go Gentle), a BAFTA winning, politically relevant Welsh language film from 2000 will be re-released in cinemas from March 2025.
From Welsh Director Emlyn Williams, Oed yr Addewid is set in 1997, as Britain reaches a political crossroads following 18 years of Conservative Government rule. The film stars Welsh acting giants, Stewart Jones, Arwel Gruffydd, Gwenno Elis Hodgkins and Gwyn Vaughan. The story follows William Davies, a widower, socialist and retired quarryman, who feels angry and bitter towards a government that has more or less forgotten him in his old age, so he puts a desperate and absurd plan into action. Twenty-five years since its release, the film’s themes of social care, aging and the British state will resonate with audiences today.
Actor Arwel Gruffydd, who plays Alun in the film, reacted to news of the re-release:
“I am very pleased that the Screen and Sound Archive of The National Library of Wales and Film Hub Wales have worked together to create a new digital print of Oed yr Addewid. It was an immense privilege to play a central role in this film 25 years ago, and I have very fond memories of that period, not least of working so closely with the inimitable, late, great Stewart Jones.”
The Screen and Sound Archive of the National Library of Wales and Film Hub Wales, part of the BFI Film Audience Network, have worked together to bring the Welsh classic back to the big screen, which launched at the Llynfi Valley Film Festival at Maesteg Town Hall in March.
The original 35mm film has been re-scanned to 2K quality by R3store Studios, then digitally restored by Gorilla Post Production and prepared for cinema screenings. With the support of Matchbox Cine, English and Welsh descriptive subtitles will also be added for the first time, making the film accessible to a wider audience.
Nia Edwards-Behi, Audiovisual Cataloguer at the Screen and Sound Archive of The National Library of Wales explains:
“We considered a number of films from the archive for this project. We chose Oed yr Addewid because it’s an appealing film that’s also still pertinent in terms of its themes and story. It’s a fine example of an artistic response to the politics of its day, and being able to re-visit that response is so valuable. We’re so fortunate to have an archive full of works like it, and really hope that we’ll see more resources to ensure access to them.”
Hana Lewis, Head of Film Hub Wales adds:
“We work regularly with cinemas and festivals in Wales to increase access to films from the archive’s expansive collection and as part of our Made in Wales project, which celebrates films with Welsh connections. These stories are essential to Welsh on-screen culture, they offer insight into our history and communities, something we are arguably need more of when it comes to films about modern Wales. Unfortunately, there are many barriers that prevent these films being seen regularly, despite audience demand – whether that’s due to lapsed rights, resources to distribute these works effectively, or funds to digitise them and preserve quality. This is why this project is so important. The cost is prohibitive, so as a sector we need to ensure that access to these films is not lost and audiences have a chance to enjoy them for years to come.”
The film is available to cinemas to book for screenings in from late March onwards, with screening dates across Wales to be confirmed.
The project is supported by Film Hub Wales, which is part of the BFI Film Audience Network (FAN) made possible thanks to National Lottery funding, 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.
More than £30M is raised each week for good causes across the UK by the National Lottery.
BFI FAN offers a range of events to help members reach new audiences, develop their business model, be more accessible, make their activity more environmentally sustainable and much more.
Find the latest opportunities below.
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Our annual event for film exhibitors across Wales.
Held in March each year, the event offers an opportunity to catch up with exhibition colleagues and find inspiration in one another’s projects, through bitesize interactive sessions. The event is also an opportunity for Fiilm Hub Wales to update on funds that will be available to Members* for the forthcoming year.
*This event is exclusively for Members of BFI FAN. If you’re not a member, you can join here.
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We’re delighted to partner with Media Cymru and Ffilm Cymru Wales for the first time, to support two Welsh trainees to participate in the Film Distributors’ Association’s (FDA) 9 month paid London based trainee scheme, gaining hands on experience in film distribution and international sales.
Exhibition and distribution are essential parts of the film chain. Understanding who the audience is and how to reach them. The scheme will support the aims our Made in Wales project, which celebrates films with Welsh connections.
Find the full course details from the FDA and Media Cymru below:
Our regular get together for exhibitors to talk about the latest films with Welsh connections, meet distributors, filmmakers and find out about Made in Wales assets.
Read more about our Made in Wales strategy here.
Upcoming Events…
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From the extravagant lifestyle of an eccentric Anglesey Marquess to adventures in the lush landscapes of Laos, eclectic stories with Welsh connections await audiences on the big screen in 2025.
Journey across Wales and beyond this year with local and global stories coming to cinemas, all of which have Welsh connections from locations, to cast and behind the scenes talent. Releasing in spring, Powys-born Joshua Trigg’s debut feature Satu – Year of the Rabbit will transport audiences to Laos as they follow two children on a stunning coming-of-age quest to find their families, friendship and the beauty of everyday life. Set to premiere at Sundance Film Festival 2025 is ie ie Productions’ newest feature film Brides, in which two teenage girls search for freedom, friendship, and belonging when they run away from their lives in the UK with a dangerous plan of travelling to Syria.
Producer Alice Lusher explains how Brides was filmed in Wales as part of an international collaboration:
It was an absolute privilege for us at ie ie productions to work alongside producers Nicky Bentham (Neon Films – UK) and Marica Stocchi (Rosamont – Italy) on Director Nadia Fall and Writer Suhayla El-Bushra’s debut feature BRIDES. A truly international collaboration exploring universal themes of identity and belonging – filmed in Wales, Turkey and Sicily. Production supported local crews and businesses in each country, and it’s been a real pleasure to see their incredible work and talent shine through this beautiful and important film. We can’t wait to share it with the world.
Thrill seeking viewers are in luck as a string of action-packed, psychological dramas and horror films are also set to release. The eagerly awaited Havoc from Welsh director of The Raid Gareth Evans, which was filmed in Cardiff sees Tom Hardy and Forest Whitaker fight their way through a criminal underworld, unravelling corruption and conspiracy along the way. Following this is the mysterious The Man in My Basement starring Willem Dafoe, which is based on Walter Mosley’s novel of the same name. It was filmed in Carmarthenshire, with Welsh producer John Giwa-Amu attached. There are also high hopes for The Scurry, from Welsh director Craig Roberts and Cliff Edge Pictures, which follows the surreal story of two pest controllers who encounter an avalanche of deranged squirrels, wreaking revenge and mayhem on the staff and visitors at an eco-country park.
John Giwa-Amu comments on The Man in My Basement and it’s links to Wales:
It‘s been a great honour for Good Gate to bring such an iconic piece of American culture to film in Wales. We can’t wait for audiences to see this dark and unique thriller come to life.
There are also plenty of films brimming with Welsh heritage. Film Hub Wales is partnering with the National Library of Wales Screen and Sound Archive to re-release a new scan of the 2002 BAFTA-winner Oed yr Addewid. This poignant look at political disillusionment, social care and aging is all the more relevant 25 years after its initial release. A ninety-minute shorts package will also be available from the Archive’s year-long Cymru Anabl (‘Disabled Wales’) project which focused on improving the accessibility of their film and video collections, as well as improving the representation of disabled and Deaf filmmakers in them.
For biography fans, the stories of two iconic Welsh figures hit screens in 2025. Mad as Birds’ new feature film Madfabulous depicts the life of the eccentric Henry Cyril Paget, the 5th Marquess of Anglesey and stars Welsh actor Callum Scott Howells (It’s A Sin) alongside Rupert Everett and Siobhán McSweeney. From Welsh production company Severn Screen, and director Marc Evans, Mr Burton follows the origin story of actor Richard Burton, and stars Welsh talent Aneurin Barnard and Aimee-Ffion Edwards, alongside Toby Jones and Lesley Manville. This is just a snapshot of the films set for release in 2025, with many more to come.
Toki Allison, Made in Wales Project Manager explains how Film Hub Wales’ Made in Wales project supports releases such as these:
Made in Wales aims to fill a gap in the film ecosystem, by creating a bridge between filmmakers and distributors, exploring how that film reaches audiences. Working with Welsh cinemas and festivals, we aim to raise awareness of films with Welsh connections, ensuring that audiences get a chance to see these stories as part of a shared experience in a cinema setting. There’s some special storytelling going on in and around Wales and a unique perspective that deserves to be seen and invested in. Wales is many things and we’re intent on expanding that narrative.
Joedi Langley, Interim Head of Creative Wales, added:
It’s an exciting year for film, with many anticipated titles on the way. Creative Wales is proud to have supported several of these productions, both independently and via the Ffilm Cymru Wales Feature Fund – which in itself has contributed to several recent releases like ‘Chuck Chuck Baby’, ‘The Almond and the Seahorse’ and ‘Timestalker’. The Made in Wales project shines a spotlight on the breadth of filmmaking talent we have here in Wales and gives new features an important platform by raising their profile among audiences and celebrates each one’s Welsh connections and is a project we’re very proud to support. Here’s to a successful year in film for Wales in 2025.
Film Hub Wales’ Made in Wales (MIW) project celebrates films with Welsh connections. It offers a host of year-round activities in partnership with Welsh exhibitors, including a film catalogue, which hosts information on over 1000 shorts and feature films. Audiences can keep up to date with news of upcoming Welsh releases and the latest interviews by following Made in Wales on Instagram, Facebook, TikTok, the Made in Wales podcast, YouTube and Letterboxd.
MIW is made possible thanks to funding from Creative Wales and the BFI Film Audience Network (FAN), awarding funds from the National Lottery. BFI FAN offers support to exhibitors across the whole of the UK, to boost cultural programming and engage diverse audiences. In Wales, activity is led by Film Hub Wales, managed by Chapter.
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Our Marketing and Outreach officer Holly spoke to the Media Club at TAPE Community Music and Film about their Neighbourhood Cinema project and how they programme and market films to rural communities in North Wales.
What is the Neighbourhood Cinema project?
We launched a cinema project called ‘Neighbourhood Cinema’ for communities across North Wales in 2023, with support from Film Hub Wales via BFI National Lottery funding. The project currently runs screenings at The Luxor Community Cinema in Llanfairfechan, various sites across Anglesey via Mencap Môn and at TAPE’s base in Colwyn Bay. We’re also exploring a number of ongoing partnerships with the aim of bringing films to communities where it’s more difficult to access regular film screenings.
What is the Media Club at TAPE and how is it involved?
Specialising in creative inclusion, we ‘co-created’ the project in collaboration with our Media Club – a safe and supportive space which offers hands on experiences to a cohort of people from across the local community. The Media Club focuses on giving people aged 18 and over the opportunity to gain experience in podcasting, sound recording, film reviews and cinema programming. The club meets weekly as a part of TAPE’s session schedule.
How do you programme films?
We watch films as a club. Sometimes we watch them at home by ourselves or as a group. We then
come together to discuss whether we think they will be good choices for us here at TAPE and the other Neighbourhood Cinema venues we programme for. Recently, the group all really enjoyed Snow Leopard, The Mountain Within Me and Strange Darlings. We are keen to fit those into ours and Llanfairfechan’s programmes somewhere! Snow Leopard was one of the best films we have seen in a long time, it was absolutely brilliant. We try to pick films that people wouldn’t necessarily choose to watch or can’t find at mainstream cinemas, so we can provide that experience for them.
Do you try to estimate audience numbers for your screenings?
We do try to estimate numbers for the screenings as we programme. It’s difficult to be concrete about it as a lot of our screenings are free. People sign up for tickets but may not make it to the screening. We’ve tried lots of different ideas to retain as many people as possible, but you can’t win against the elements! If it’s been raining all day, we have reduced numbers (even though a rainy day is the perfect excuse to hide away at the cinema!)
With the Neighbourhood Cinema project, we’re trying to work with venues in places people can get to despite weather and transport issues. Small rural villages are perfect because people do tend to make the journey if the film is really good and they can walk to it (and we always programme really good films!)
The Luxor Community Cinema in Llanfairfechan is a really good example of this. They hit the ground running with their first two screenings. I was at The Sound of Music screening and it was packed – the atmosphere was fantastic and we had such a good time. They also screened Brian and Charles and they had a great crowd there as well. After both screenings, they received feedback from the audience and there is a real enthusiasm there. People are making suggestions about what they want to see, and it feels like the venue has become involved within the community straight away and we have a really good partnership.
It’s great to hear that the Luxor has had such an amazing start! What do you think is working particularly well in Llanfairfechan?
Chris Potter, who runs the community hall is really active in running the whole centre. They are constantly telling people about the cinema and the upcoming screenings. The venue is already very well used by the local community, but the cinema has generated a lot of excitement in t
he village so there is enthusiasm there from the very start. They’ve also ensured that the community a part of the cinema experience, asking them for feedback on the screenings and suggestions about what they would like to see in the future. I think the village has wanted the cinema back for a long time.
We helped them out with the opening of the cinema, as we loaned them our air-screen whilst they crowd-funded the money for some permanent projection kit. We didn’t want them to have to wait any longer!
I think it was also a great idea to show The Sound of Music as their first screening, as it was the film that they were going to show before the Luxor Cinema closed down in 1964. The apprentice projectionist from 1964 actually came along to the screening as he still lives in the village, which just adds to the local history of it all! The Luxor is such a good example of what happens when you have the perfect venue and the perfect team.
Where do you go from the programming stage? What sort of marketing do you currently do to spread the word about your screenings?
We’re very active on our social media platforms – we mainly use Instagram and Facebook. We also produce an audio podcast that goes out every Saturday and they’ve been doing really well. Local radio has been really important for us, they’re supportive of our regular bespoke adverts for the events. It always feels like there is more marketing that we can do, and it is crucial to give people as much time as possible to find out about our events.
Is there anything else that you have done outside of marketing to increase engagement with your programme?
We’ve just started to do some programming with partner organisations. We started by working with Mencap Môn to programme for the Oriel Môn venue in Anglesey and that has been amazing from the start. We have just started to work with an organisation called Anheddau, which is a disability services and support organisation here in North Wales. They want to engage with the people who use their services more, so we are creating a bespoke programme together, which will be really special. We’re also in the process of talking with organisations like Mind to create similar bespoke programmes there as well.
We’ve also been doing some outreach screenings at film locations which has been really fun. We hosted a Halloween screening of our second feature film Approaching Shadows at the pub featured in the film. The screening was packed! The crowd were raucous in the best way and they loved it, it worked really well. We’re planning on going back to that same village in January to screen Brian and Charles, as that was also filmed there! It is a different way to engage these communities with Welsh films as well which is nice.
It’s a really exciting time for the project and we can’t wait to see where it goes in 2025.
Find out more about the Neighbourhood Cinema project here.
BFI FAN CON is a brand new conference for BFI FAN (Film Audience Network) members, from small community cinemas and touring collectives right up to large multi-screen independent cinemas and landmark film festivals. The inaugural event took place in September 2024 (Belfast) and Ellys attended on behalf of Cardiff Animation Festival.
Here’s what Ellys told us about her experience:
I had a brilliant time attending my first BFI FAN CON in Belfast. I attended a lot of insightful talks, discussions and training sessions and it was brilliant to meet everyone and talk so passionately about film exhibition and festivals.
Ellys attended the following talks, all of which she found were engaging and informative:
The ‘Family Fortunes: Reaching Families and Children‘ talk was presented by Exeter Phoenix and Cinemagic Film Festival which explored how they have successfully engaged children / family audiences with their programme and developed a sustainable practice with families being one of their biggest audiences. This is something Cardiff Animation Festival will consider when programming in the future and how they can bring new content to families that would otherwise not have access to it on the big screen.
Read more about all the sessions above.
A community engagement session, We’ll Come to You: People-Centred Approaches to Film Exhibition (curated by Linnea Pettersson) explored potential barriers for audiences from underserved socio economic backgrounds and what can be done to to address them – this was helpful for Ellys in relation to the touring programmes they offer to communities across Wales and how they can consider a people-centred approach to their programming.
Linnea Pettersson is the BFI FAN Socio Economic Champion, read more and find resources here.
Ellys made several new connections with festivals and cinema programmers across the UK and Ireland which could result in more exciting collaborations for Cardiff Animation Festival in future. The new knowledge, training insights and contacts will be shared with the festival team to continue improving Cardiff Animation Festival events for the years ahead.
…the lunches and dinners at BFI FAN CON were a great, relaxed networking opportunity to meet fellow film exhibitors and gain an insight into how everyone approaches their work in a similar role to me – which is something I don’t often get the chance to experience.
Ellys attended BFI FAN CON 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.
As actor Mark Lewis Jones’ latest film Portraits of Dangerous Women hit cinema screens on October 11th 2024, he’s also is preparing to receive the BAFTA Cymru 2024 Siân Phillips Award. Across his 38-year acting career, he’s starred in a host of critically-acclaimed films and television dramas. To celebrate this achievement, we’ve curated a list of some of Mark’s films from our Made in Wales catalogue.
To see Mark’s full filmography and TV credits, click here.
If you’re looking to fill your calendar with Welsh films this winter and settle into a cosy cinema seat, in front of the big screen, we have the list for you.
It’s already been a busy year for films with Welsh connections in 2024 with dramatic features such as The Almond and the Seahorse, Unicorns and Chuck Chuck Baby, plus the epic animation; Kensuke’s Kingdom, all of which had special Made in Wales interviews to introduce audiences to the Welsh links.
We have even more to look forward to, starting with Timestalker, which releases October 11th. Director Alice Lowe creates a karmic, hilarious and sometimes violent journey that sees the hapless heroine Agnes reincarnated every time she makes the same mistake: falling in love with the wrong man. The film has a host of Welsh connections from producer Vaughan Sivell to actor Aneurin Barnard, who Made in Wales interviewed this week. It was also filmed in Cardiff and Penpont House in Brecon.
Welsh Producer Vaughan Sivell explains:
Since my first film, Third Star, we’ve managed to shoot many of our films in part at home in Wales but in this case, we managed to shoot the entirety of Timestalker there. We doubled the Brecon Beacons as the Scottish Highlands, Penpont House as Georgian England and Cardiff Bay as 1980’s New York! The Welsh crew were outstanding and we had an amazing time. I can’t wait for local audiences to see it on the big screen.
Moving on to November, we have two documentaries with globally significant themes. First up is India’s 1st Best Trans Model Agency, from Pembrokeshire based director Ila Mehrotra, releasing November 11th during Transgender Awareness Week. This emotionally charged journey, filmed over seven years, follows the extraordinary story of Rudrani Chettri, her friends and the transgender community of Delhi as they create India’s first ever trans modelling agency. The film explores the complex world of India’s ‘third gender’ (Hijra), where traditional values clash with human rights. The film brings identifiable stories of love and loss, hope and poverty, beauty, glamour and catwalk glory.
On November 22nd, the multi award winning O R Tambo’s Comrade Tambo’s London Recruits will be launched to a wider cinema going public via what the organisers are calling a ‘People’s Release’. The film, hailed by Variety as an ‘edge of your seats documentary thriller‘, is set at the height of apartheid in the late sixties / early seventies as a group of working-class, anti-racist activists living in London answer Oliver Tambo’s secret call for undercover agents to bring hope to his embattled people inside South Africa. The release is being organised in partnership with the Trade Union movement and solidarity with Southern Africa organisation, ACTSA, in response to nationwide race riots across the UK. A key component will be post-screening panel discussions on how we can all contribute to an anti-racist Britain.
Welsh Director Gordon Main explains why releases like Comrade Tambo’s London Recruits are so significant:
With an emboldened far right once more on our streets, this film offers a powerful, anti-racist alternative to hate. The London Recruits risked their liberty for a better world. They are an inspiration. Shot in Wales and South Africa, the film is a proud Cymru / South Africa collaboration. It’s a showcase for great talent and locations in both countries and is part of a wider cultural and artistic dialogue that sees Welsh / African creative partnerships as vital for a culturally healthy, outward looking, international Wales.
Also highly anticipated is the second feature from Zambian Welsh Director Rungano Nyoni: On Becoming a Guinea Fowl. The film follows Shula as she drives on an empty road in the middle of the night, stumbling across the body of her beloved uncle Fred. As funeral proceedings begin around them, she and her cousins bring to light the buried secrets of their middle-class Zambian family. Keep your eye out for the release date, coming soon.
Fans of all things gory, can also look out for ambitious low-budget slasher film Scopohobia from Welsh director and writer Aled Owen this autumn, as well as Protein about a gym obsessed serial killer, coming soon from a team of Welsh producers Craig Russell, Tom Gripper and Dan Bailey. Both films were made in and around Swansea. Audiences can still also catch screenings of creepy British folk horror, Starve Acre, starring Welsh actors Morfydd Clark and Erin Richards.
Hana Lewis, Film Hub Wales’ Manager on how the Made in Wales project will support these releases:
Through our Made in Wales project, we work closely with the rightsholders to promote each release, creating assets such as interviews with talent and editorial articles which showcase Welsh elements such as themes or locations, of which audiences might otherwise not be aware. It’s essential that these films reach communities in cinema environments as they help us to see Wales on screen and the world to see us. We can explore our cultural identity in new ways, giving voice to diverse storytellers and challenging stereotypical perceptions of Wales.
Film Hub Wales’ Made in Wales (MIW) project celebrates films with Welsh connections. It offers a host of year-round activities in partnership with Welsh exhibitors, including a film catalogue, which hosts information on over 1000 shorts and feature films and Made in Wales podcast. Audiences can keep up to date with news of upcoming Welsh releases and the latest interviews by following @Madeinwales_ on social media.
MIW is made possible thanks to funding from Creative Wales and the BFI Film Audience Network (FAN), awarding funds from the National Lottery. BFI FAN offers support to exhibitors across the whole of the UK, to boost cultural programming and engage diverse audiences. In Wales, activity is led by Film Hub Wales, managed by Chapter.
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Every time you watch a film on a big screen, a team of people are working hard behind the scenes to make sure that you have the best experience. This year, we’ll be introducing you to the people behind our funded projects – the hidden figures of film exhibition in Wales. From project directors to curators and marketing specialists who all put inclusion at the heart of their exhibition activities…
