{"id":5347,"date":"2026-08-15T12:04:54","date_gmt":"2026-08-15T12:04:54","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5347"},"modified":"2026-08-15T12:04:54","modified_gmt":"2026-08-15T12:04:54","slug":"bfi-boss-ben-roberts-picturehouses-clare-binns-on-gen-zs-cinema-renaissance-ai-slop-and-british-indie-film-were-not-great-at-comedy","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5347","title":{"rendered":"BFI Boss Ben Roberts, Picturehouse\u2019s Clare Binns on Gen Z\u2019s Cinema Renaissance, AI Slop and British Indie Film: \u201cWe\u2019re Not Great at Comedy\u201d"},"content":{"rendered":"
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\n\tBritish Film Institute CEO Ben Roberts and creative director of Picturehouse Clare Binns took to Edinburgh Film Festival\u2019s Central Hall on Saturday for a keynote discussion on the future of British independent film.<\/p>\n

Read more Adam Scott Says Daughter Had to Watch His \u2018Office\u2019 Audition Tape in Acting Class: \u201cWhat Not to Do\u201d<\/a><\/p>\n

\n\tBinns was asking Roberts about how the BFI spends its money \u2014\u00a0the organization has \u00a3150 million ($203m) to disburse over three years, much of it given to the organization via government grants and National Lottery revenue \u2014\u00a0and kicked off by discussing how difficult it is to get smaller projects off the ground and to a wide audience.<\/p>\n

\n\t\u201cWe often forget to talk about the actors that have been discovered or platformed through lottery-funded or publicly funded films and gone on to be huge stars,\u201d Roberts began. \u201cTom Holland, his second film was called How I Live Now <\/em>[released in 2013] with the great Kevin Macdonald and funded with lottery money, [and] that [put] him on a particular path. Olivia Colman\u2019s first standout work that moved her from sketch comedy to dramatic feature film was Paddy Considine\u2019s [2011 film] Tyrannosaur<\/em>. So I think there are many markers of success in a film.\u201d<\/p>\n

\n\tThe pair soon came onto genre, specifically when Roberts was explaining that there\u2019s a \u201cmisconception that a lot of money needs to be spent in order to create something that\u2019s got value.\u201d He said there are things \u201cwe have to be greater [at] in the U.K. as an independent sector.\u201d Binns probed: \u201cWhich are?\u201d<\/p>\n

\n\tRoberts answered: \u201cI don\u2019t think we\u2019re great at comedy\u2026 Obviously, [Edinburgh is] working with really strong comedies like this year, [like the opening night film] The Incomer<\/em>. I\u2019m not saying we don\u2019t do it, but it\u2019s also really a skill to do it well. And we know audiences love horror, and I think we can pull our punches in horror and comedy in independent film.\u201d<\/p>\n

\n\tRoberts and Binns covered a range of topics over the course of an hour and a half, including the BFI\u2019s audience development fund, Escapes, as well as cinema chains and their own pricing models, support from the U.K.\u2019s Department of Culture, Media and Sport, and promoting the value of cinema hubs as \u201cvital community hubs that contribute significantly to the wider high street economy.\u201d<\/p>\n

\n\tRoberts later conceded about the BFI\u2019s distribution model: \u201cIt\u2019s a really complex model running a charity that\u2019s got all these very big, expensive elements, but a relatively flat amount of funding from the government, and we\u2019re the one organization that can\u2019t apply for lottery money because we give it out. We support lots of other distributors with lottery funds as well.\u201d<\/p>\n

\n\tBinns even asked Roberts about the new U.K. Prime Minister Andy Burnham, whose first few weeks in charge has been marked by his push to drive political power out of London and up north. \u201cWe\u2019ve got people quite distributed [across the U.K.] since COVID,\u201d he said. \u201cWe\u2019re London-centric insofar as the [BFI] IMAX is London, quite a few of our staff are headquartered in London. We actually have five buildings \u2014\u00a0two cinemas in London, an office building, and then two archive buildings that are not in London. They\u2019re in other parts of England. Lottery money is brilliant because we are able to work at a U.K.-wide level, [and] we\u2019ve got very clear and specific targets on how that money should be distributed.\u201d<\/p>\n

\n\tRoberts maintains that \u201cyou don\u2019t have to design your film for commercial success.\u201d He said that this year\u2019s box office has demonstrated this plainly, and referenced James Harris and Mark Lanes\u2019 Tea Shop Productions, a British production company that backed Curry Barker\u2019s Obsession<\/em>. \u201cThe number of original films [this year]\u2026 It\u2019s been less IP-heavy, and should be [sending] a signal to everybody that you can get out there. It\u2019s easy for me to say, sitting and running an organization: \u2018Get out there and do it.\u2019 I mean, the guys that made Obsession<\/em>, two producers who own Tea Shop who never really had support from the BFI.\u201d<\/p>\n

Read more Anne Hathaway Says Films Where Dogs Die \u201cShould Automatically Be Rated R\u201d<\/a><\/p>\n

\n\tHe continued about Barker\u2019s industry-shaking horror: \u201cIt\u2019s grossed \u00a320 million in the U.K. on a $750,000 budget\u2026 And they cut their teeth,\u201d he added, explaining that Tea Shop earned industry experience by making shark movies.<\/p>\n

\n\tLater in the session, Roberts and Binns took audience questions. A member of the audience asked: \u201cDo you think cinema has almost become a sanctuary away from the AI slop on people\u2019s phones, and that\u2019s why there is a bit of a renaissance from the Gen Z audience [going to see films]?\u201d<\/p>\n

\n\t\u201cDefinitely, we\u2019re seeing a lot more young people,\u201d answered Binns about Picturehouse data. \u201cBut I think one of the most interesting things I found is that we\u2019re working with the likes of Netflix and Amazon, Sky, and Disney, and they talk very much about fan events \u2014\u00a0fan events are where you get people who are watching something at home, and they all want to be together. And when we\u2019ve done those events, it tends to be very young people coming in who want to be in the cinema because they don\u2019t want to be at home on their own.\u201d<\/p>\n

\n\t\u201cBut certainly with Obsession <\/em>and Backrooms <\/em>and Spider-Man <\/em>and The Odyssey<\/em>,\u201d she continued, \u201cwhat we\u2019ve always needed is just good content. If you\u2019ve got good content week in, week out\u2026 [Right now] there\u2019s three really good films [in cinemas] and people are coming back. And yes, I think the younger audience have an appetite for being together in the cinema. It\u2019s very hopeful.\u201d<\/p>\n

\n\tRoberts jumped in on another audience question on AI: \u201cI don\u2019t think we\u2019re anywhere near using AI for decision-making. I think there might be some productivity tools that we can use to make the application processes easier\u2026 We actually ask filmmakers on our application forms: \u2018Have you used AI in this application?’\u201d<\/p>\n

\n\t\u201c[But] we\u2019re not keen to have a conversation that frames AI entirely as a negative space.\u201d<\/p>\n

\nThe 2026 Edinburgh International Film Festival runs Aug. 13-19. <\/em>Industry talks have included sessions with Christine Vachon, Ken Burns and Ewan McGregor.<\/p>\n

Read more \u2018Incredibles 3\u2019 Gets First-Look As the Kids \u201cTake the Spotlight\u201d<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

BFI boss Ben Roberts and Picturehouse's Clare Binns spoke at Edinburgh Film Festival's keynote industry session on Saturday, lauding 'Obsession.<\/p>\n","protected":false},"author":1,"featured_media":5346,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3427,3428,2707,2199,2200,2,98],"class_list":["post-5347","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-ben-roberts","tag-bfi","tag-british-film-institute-bfi","tag-edinburgh-2026","tag-edinburgh-international-film-festival","tag-international","tag-united-kingdom"],"yoast_head":"\nBFI Boss Ben Roberts, Picturehouse\u2019s Clare Binns on Gen Z\u2019s Cinema Renaissance, AI Slop and British Indie Film: \u201cWe\u2019re Not Great at Comedy\u201d - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=5347\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BFI Boss Ben Roberts, Picturehouse\u2019s Clare Binns on Gen Z\u2019s Cinema Renaissance, AI Slop and British Indie Film: \u201cWe\u2019re Not Great at Comedy\u201d - 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