The short version
- Jessie Buckley questioned whether the industry places excessive weight on award campaigns at the expense of nurturing new filmmakers.
- Four emerging UK filmmakers received funding for projects addressing political protest, racial profiling, and family trauma.
- Buckley emphasized that supporting grassroots talent is essential for sustaining jobs across the entire film production ecosystem.
Jessie Buckley has publicly challenged the prevailing strategy of the film industry, suggesting that an overreliance on Oscar campaigns may be detrimental to the long-term health of cinema. Speaking at the BFI and Chanel filmmaker awards in London, the actor argued that the sector would benefit more from investing in emerging talent at a grassroots level rather than concentrating resources on high-profile marketing pushes for established stars.
Buckley’s comments were a direct response to remarks made by John Malkovich, who asserted that award season campaigns are now the primary driver of audience attendance in theaters. While Buckley acknowledged some validity to this observation, noting that creators must take responsibility for sharing their work with the public, she expressed concern about the broader implications of this trend.
The actor highlighted that the current model affects far more than just directors and lead performers. She pointed out that crew members, marketing professionals, and other support staff depend on a steady stream of productions to maintain employment. If the industry fails to support new projects and creators, she warned, those downstream jobs will disappear, destabilizing the entire community.
Buckley suggested that the industry has perhaps assigned too much significance to promotional machinery. She questioned whether there is untapped potential in fostering creativity from the ground up, rather than funneling energy into campaigns designed to win specific accolades. This perspective aligns with her own career trajectory, which has been largely rooted in independent filmmaking.
To illustrate her point, Buckley cited recent successes of films produced on minimal budgets, such as Obsession and Backrooms. She noted that audiences flocked to these titles because of their artistic merit and quality, not because they were backed by established intellectual property or pre-determined commercial success metrics. These examples demonstrate that compelling storytelling can resonate with viewers without the backing of massive marketing expenditures.
The ceremony itself underscored the value of supporting new voices. Four emerging UK filmmakers were named recipients of this year’s BFI and Chanel awards, each receiving £20,000 to further develop their work. The jury, which included Buckley, Gwendoline Christie, BFI CEO Ben Roberts, Edward Enninful, and Marie-Louise Khondji, selected winners whose projects tackled complex social issues.
Among the honorees was Rich Felgate, recognized for his documentary We, the Hated, which examines the personal costs faced by participants in the Just Stop Oil protests. The jury described the film as urgent and brave. Buckley noted that watching the documentary prompted her to reconsider the role of protest in modern society, reminding her that while protest may seem dangerous today, it has historically been essential to democracy.
Other winners included Olive Nwosu for Lady, a feature debut set in Lagos exploring female solidarity; Imran Perretta for Ish, a coming-of-age story addressing racial profiling in Luton; and Rachel Taparjan for Something Familiar, a documentary about her search for her missing sisters after being adopted from Romania. The jury praised the cinematic ambition and emotional honesty of these works.
Gwendoline Christie noted that the strength of this year’s submissions was so high that the jury felt compelled to expand the number of winners beyond the usual three. This decision reflects a growing recognition of the diverse and powerful voices emerging in contemporary cinema. The awards, which have been running since 2022, continue to highlight creative audacity and ambition.
Buckley concluded by emphasizing the moral imperative of supporting the next generation of filmmakers. She stated that it would be selfish not to nurture new talent, as established artists eventually leave the industry. By investing in emerging creators, the film community ensures a continuous flow of fresh perspectives and stories, keeping the medium vibrant and relevant for future audiences.
Sources behind this briefing
Go to the original reporting
- The Guardian US↗Jessie Buckley urges film industry to nurture new talent: ‘It would be completely selfish if we didn’t’
