BFI Diversity Standards for film

This guidance is for those seeking an inclusive approach to their filmmaking and those applying for film funding where the Standards are mandatory.

The BFI Diversity Standards are a contractual requirement for all BFI funding for film, including fiction and documentary films funded via the BFI’s partners.

The Standards are also used by BBC Film and Film4.

Films applying to Screen Scotland should use this guidance.

Projects that should use this guidance:

Find out about application forms

About terms in the Diversity Standards

Under-representation and under-represented groups in the UK relate to the protected characteristics as defined in the UK Equality Act 2010.

We also recognise gender fluid and non-binary identities as an underrepresented group (recently recognised as protected under the Equality Act following the judgment in Taylor v Jaguar Land Rover in Sep 2020).

Additional areas include regional participation, socioeconomic background and caring responsibilities.

However, this is not an exhaustive list and we welcome projects addressing under-representation in other areas.

Addressing under-representation also means being aware of intersectional experiences and taking into account multiple minoritised and marginalised identities.

To achieve the BFI Diversity Standards, you must meet at least three of the following standards:

How do I meet the Standards? 

All projects should try to address as many Standards as possible. During our initial assessment, we may encourage you to develop your responses and intentions. If you are applying at pre-production stage, you must be clear about how you intend to deliver your intentions.  

When the project is completed, you will be required to confirm how you delivered on your intentions.

The following outlines the minimum requirements for each type of film. 

  • Feature-length films at Production stage or later: meet Standard C, Standard E and at least 1 other Standard

  • Feature-length films at Development stage: meet Standard A, summary of intentions for Standards B-E

  • Short films, except Future Takes: Summary of Standards A, B, C, D and E 

  • Future Takes: meet Standard C, Standard E and at least 1 other Standard 

Please provide as much relevant detail as possible and reference relevant underrepresented groups in your responses. 

Make direct reference to characters, narrative and crew roles. If you are using specific organisations to recruit crew or early career opportunities, please mention them.

Standard A: On-screen representation, themes and narratives

This standard relates to how the project will address under-representation in the lead and secondary characters, talent or contributors, casting choices, the main and secondary storylines, themes, and narratives and where it is set.

To meet this Standard, you must:

  • Identify where there are unfamiliar characters or themes and narratives that are not frequently portrayed on-screen or are shown from a new perspective.
  • Describe where there are meaningful and non-stereotypical representations of characters or contributors who are portrayed with nuance.
  • Detail the perspective of the narrative or theme of the project and how this affects the way in which characters or contributors are portrayed. For film projects in development or treatment stages, concessions may be made towards what level of detail can be provided at this earlier phase.

Features and Future Takes projects should respond to the full criteria. Other shorts are expected to respond with a summary of how they meet the aims of this Standard overall.

If Completing Standard A: Meet at least 3 of the 6 criteria below, of which A6 Casting Decisions is mandatory.

Standard A contents

A1 Lead roles

Characters / contributors / presenters

Criteria

At least one of the lead characters, contributors, presenters is from an under-represented group(s)

Guidance

The lead character, contributor or presenter will address under-representation in a meaningful, multi-dimensional, and non-stereotypical way. They challenge a stereotype and/or bring new representation to a well-known story. 

  • Scripted (fictional) content: Generally, the main protagonist and or antagonist
  • Unscripted (documentary) content: Lead Contributor, Lead Presenter
  • Ensemble cast: more Lead Characters might be relevant
  • Animated content: Portrayal and design of the lead character

For immersive AR/VR content, we will look at where storytelling by the lead characters, contributors or presenters involves the audience in order to create additional representation.

Examples include but are not limited to those under-represented groups that are rarely seen:

  • (a) on-screen
  • (b) in this type of job, role, genre, narrative
  • (c) in such a storyline or subject matter.

Note: A1 addresses the characters written and not the talent hired to play those characters unless it’s the contributors or presenters. Where such individuals have not yet been identified, more details outlining intentions or shortlisted individuals should be provided along with the application.

A2 Other roles

Characters / contributors / presenters

Criteria

Secondary / supporting characters, contributors, presenters meet one or more of the following targets:

  • 50% Gender (50 to 50 balance of men and women identifying within the gender binary)
  • 40% Ethnically diverse (London)
  • 30% Ethnically diverse (UK-wide)
  • 10% LGBTQIA+ (including those outside the gender binary)
  • 18% Disability (including those with a longstanding physical or mental condition and those identifying as D/deaf or neurodiverse)
  • 39% Working class background 
  •  A significant number are based in the UK outside of London and the South East of England.

Guidance 

Secondary / supporting characters, contributors, presenters represent diversity on-screen per the criteria and meet the outlined percentages. In addition to meeting the targets, these characters challenge a stereotype and/or bring new representation to a well-known story.

  • Scripted (fictional) content: Secondary / supporting characters (indicate where these are non-stereotypical representations)
  • Unscripted (documentary) content: Other Contributors, Presenters (need to collect diversity demographics for these individuals)
  • Animated content: Portrayal and design of secondary / supporting characters

For immersive AR/VR content, we will look at where storytelling by the secondary and supporting characters, contributors or presenters involves the audience in order to create additional representation

Examples include but are not limited to those under-represented groups that are rarely seen:

  • (a) on-screen
  • (b) in a type of job, role, genre, narrative
  • (c) in such a storyline or subject matter.

Note: A2 addresses the characters written and not the talent hired to play those characters unless it’s the contributors or presenters. Where such individuals have not yet been identified, more details outlining intentions or shortlisted individuals should be provided along with the application.

A3 Main storyline

Main storyline / subject matter

Criteria

The main storyline, theme, subject matter, or narrative of the film is about an under-represented group(s).

Guidance

Where plot-driven, the main storyline, theme, subject matter, or narrative is about an under-represented group(s). In the event the film is character-driven, it centres on a lead character or contributor from an under-represented group(s). 

Examples include but are not limited to those under-represented groups that are rarely written about for being:

  • (a) on-screen
  • (b) in a type of job, role, narrative
  • (c) in such a storyline or subject matter.

Fresh perspectives and innovative ways of storytelling that challenge a stereotype and/or bring new representation to a well-known story are encouraged. If the film is an adaptation of popular literary works and/or a historical narrative, an unfamiliar interpretation and unexpected approach to its retelling is advised. 

In immersive storytelling, audience interaction and their experience of the narrative will be considered.

If the storyline(s), theme, subject matter, or narrative has an approach that is not covered above but addresses under-representation in a unique and meaningful way, additional details should be provided along with the application.

A4 Other storylines

Other storylines / subject matter

Criteria

Apart from the main one, there are other storylines, themes, subject matters, or narratives that are about under-represented group(s).

Guidance

Where plot-driven, other secondary storylines, themes, subject matters, or narratives are about an under-represented group(s). In the event the film is character-driven, it features secondary characters, or contributors and/or presenters from an under-represented group(s). 

Examples include but are not limited to those under-represented groups that are rarely written about for being:

  • (a) on-screen
  • (b) in a type of job, role, narrative
  • (c) in such a storyline or subject matter

Fresh perspectives and innovative ways of storytelling that challenge a stereotype and/or bring new representation to a well-known story are encouraged. This includes immersive storytelling, audience interaction and their experience of it. If the film is an adaptation of popular literary works and/or a historical narrative, an unfamiliar interpretation and unexpected approach to its retelling is advised.

If the other storyline(s), theme, subject matter, or narrative is approached in a way that is not covered above but addresses under-representation in a unique and meaningful way, additional details should be provided along with the application.

A5 Locations

Meaningful location, setting where filming will take place

Criteria

  • Fictional: the film is wholly or partially set in an under-represented region and/or reflects an under-represented community.
  • Animation: relevant representation of how the world or place is portrayed.
  • Documentary: filming is outside of Greater London and the South East of England.

Guidance 

Where filming takes place and the where the narrative is set, whether a location within or outside of the UK, or a purely fictional setting. Beyond geography, this relates to communities represented in a film.



•    Setting is wholly or partially in an under-represented region or community. 

•    Animation: The scenes must offer relevant representation, and how the location will be portrayed must be explained in detail.

•    Fictional setting / community: A fantasy, sci-fi or otherwise fictional setting or location that parallels a real-world under-represented community or relates directly to an under-represented place or group.

•    For documentaries, filming is wholly or partially on location, or in a studio outside of Greater London and South East of England.

To meet this, films should be set, wholly or partially, in an under-represented region or community. If partially, the scenes showing the setting should be significant and offer meaningful representation of the place. If outside the UK, indicate how much of the film takes place outside of capital cities or major cities.

Under-represented geographical settings:

  • Within the UK: Outside of Greater London and is beyond familiar/common depictions — a non-stereotypical portrayal of an area. 

  • Outside of the UK: Outside of capital cities or major cities commonly portrayed on-screen OR a non-stereotypical portrayal of an area OR a country rarely portrayed on-screen or always represented in one way or in one genre.’ 

Location and setting may be defined as the geographical region, such as country, city, town, and studios (documentaries only).

Indicate if the geographical setting or community relates directly to an under-represented group(s) or is generally under-represented on-screen. Provide relevant context on how the setting relates to the storyline, subject matter, and characters or contributors.

For A5, a community may be defined as a group of people having certain characteristics in common.

Whether in the UK or outside of the UK, an under-represented community is a minority group, when compared to more dominant groups in that region. These groups may be related to religious, immigrant, tribal, racial, ethnic, or one of lower socioeconomic status, as examples.

Immersive AR/VR: In line with the above guidance, explain how the intended experience and interaction will have a meaningful setting or use of a location.

Note: Production, location and setting must be approached with due caution around any regional, local, and cultural sensitivities

A6 Casting decisions (Mandatory)

Casting and hiring diverse talent to improve portrayal and representation

Criteria

Casting choices that address under-representation and challenge tropes and stereotypes.

Guidance

Casting decisions that influence how the characters, contributors or presenters are chosen and portrayed, what group(s) are represented as a result that address under-representation in a meaningful, multidimensional, and non-stereotypical way.

All projects, especially those in development stages, should have an overall casting plan to ensure the above measures are duly considered. Details should include casting decision rationale, and the prominence of the characters, contributors or presenters will be assessed.

Examples include but are not limited to: 

•    Developing and casting non-actors for authentic representation

•    Demonstrating street casting for more realistic and authentic portrayals and representation

•    A Black or Global Majority actor cast in a role with unspecified ethnicity or initially a white character  

•    Casting a Black or Global Majority actor in a role that has meaning and isn’t merely tokenistic

•    A female presenter for a documentary that has predominantly had men present its subject matter 

•    A trans actor being cast in a role not specifically written as trans

•    An actor with a disability cast in a role not originally written as disabled

•    A lead voice artist from an under-represented group for an animated film project

Also, having cast or hired talent who belong to or identify as the character’s under-represented group may meet A6, where it challenges common casting practices. For example, non-disabled actors are often cast as disabled characters, so casting an actor who is disabled in such a role would challenge this common practice.

Actions to raise awareness and address bias in casting decision-making will be considered, such as training or support materials.

Note: A6 addresses the talent hired, not the characters written. Additional recognition will be given towards casting choices that reflect intentional writing efforts to portray characters from under-represented groups into the original narrative to challenge stereotypes and improve representation.

Standard B: Creative leadership and project team

This standard relates to how the film will address under-representation throughout its team: from Heads of Departments and/or Creative Leadership to secondary and junior roles across the board, including the creation of regional employment outside of Greater London and the south-east of England.

Intersectional representation is a vital consideration in this Standard to reflect opportunities to those possessing multiple layers of under-representation (such as Black and Global Majority women, younger LGBTQIA+ people from lower socioeconomic backgrounds, etc.).

At the same time, avoiding stereotypical representation and breaking gender stereotypes for certain roles is important. It will also consider roles designed to ensure the safeguarding and protection of its team especially those from vulnerable and/or under-represented groups.

If applying in pre-production, where roles have yet to be confirmed, provide details of the roles that will be offered, any shortlisted crew and the approach to recruitment for these roles. For example, the types of outreach, as well as barriers removed.

Include information on additional support for access requirements, including travel, and interventions being made for primary caregivers, for example, job-share opportunities, on-set childcare, and flexible working arrangements. 

For all criteria within this standard, the overall size of the film project will be taken into account.

Where the total crew or project team size is less than 25, concessions may be made, particularly in terms of number of individuals required to meet a criteria. Such film projects with smaller teams would need to provide as much information as possible against the relevant criteria in their application.

Future Takes projects should respond to the full criteria, but allowances may be made. 

Other shorts are expected to respond with a summary of how they meet the aims of this Standard overall.

Completing this Standard does not require naming any individuals.

If Completing Standard B: Meet at least 3 of the 6 criteria below, of which B1 and B2 are mandatory.

Standard B contents

B1 – Department heads (Mandatory)

The leader(s) across every department working on the film

Criteria

At least three of the heads of department and/or creative leadership are from an under-represented group(s).

Guidance

Individuals in lead creative and decision-making roles will address under-representation in a meaningful way.

At least three of the following roles are from an under-represented group(s):

1st assistant director; animation director; casting director; composer; costume designer; creative director; director; director of photography; editor;;gaffer; grip; hair and make-up designer; head of production; head of safe-guarding; line producer, location manager; music supervisor; post-production supervisor; producer; production accountant; production designer; production executive; screenwriter; script supervisor; senior animator; sound mixer; storyboard supervisor; technical director; VFX supervisor; head of VFX.

Projects are encouraged to diversify the core triangle of writer, producer and director to ensure these roles are filled by individuals from under-represented groups.  

Concessions may be made for applications from projects with very small teams.

Note on roles

B2 – Other key roles (Mandatory)

Secondary leadership roles across every department working on the film

Criteria

At least six other key roles (mid-level crew, project team and technical positions) are filled by someone from an under-represented group(s).

Guidance

Individuals in secondary roles could be a mix of seniorities including mid-level crew, project team members, and/or technical positions, who address under-representation in a meaningful way.

They are not considered to be a head of department. Second tier roles should also be included where the size of the team or the division of duties within the project warrants their addition.

At least six of the following roles (or similar) are from an under-represented group(s).

Examples include but are not limited to:

1st assistant editor; 2nd assistant director; animators; art director; best boy; camera operator; character designer; compositors; construction manager; costume supervisor; floor manager; focus puller; hair and make- up supervisor; key stunt performer; lighting roles; lighting technician; modelling roles; music editor; pre-visualisation roles; production co-ordinator; production manager; prop design and build props master; prosthetics designer; puppet fabrication; rendering roles; rigging roles; set decorator; set design and build; SFX supervisor; sound editor; special supervisors and consultants (e.g. water, combat and acting coaches); storyboard artist; storyboard assistant; studio manager; stunt coordinator.

Note on roles: If a role does not fall under any of the titles above and/or if there is a role of equal prominence and that addresses under-representation in a meaningful way, this can be outlined here.

We would ask that you consider consistently under-represented groups and their intersections where possible, meaning individuals from multiple under-represented groups and particular roles and departments where there are few people from specific under-represented groups.

For example, there is a lack in our industry of women in technical roles, disabled talent across the board and ethnically diverse producers — think about how your selections here might help to increase representation in these roles and for people from these under-represented groups.

B3 – Other project team members

The overall make-up of the filmmaking team

Criteria

The overall make-up of the film’s team meets one, or more, of the following targets:

•    50% Gender (50-50 balance of men and women identifying within the gender binary)

•    40% Ethnically diverse (London)

•    30% Ethnically diverse (UK-wide)

•    10% LGBTQIA+ (including those outside the gender binary)

•    18% Disability (including those with a longstanding physical or mental condition and those identifying as D/deaf or neurodiverse)

•    39% Working class background 

•    A significant number are based in the UK outside of London and the South East of England.

Guidance

The entire project team involved in the making of the film represent diversity per the criteria to meet the outlined percentages. Since this requires diversity information on all of the crew and/or project team members, it is suggested that this is collected upon contracting them.

In the event the film is yet to fully crew up, provide a statement outlining intended recruitment processes that go above and beyond traditional methods for example, targeted outreach or inclusive language in the job description.

B4 – Regional employment

Hiring crew and/or project team members from local regions

Criteria

The film offers local employment in the UK outside of Greater London and the South East of England. 

Guidance

Demonstrate that the film has created employment and work opportunities in the UK outside of Greater London and the South East of England.

This includes all stages of production and may comprise of multiple areas/regions.

Where work is taking place in relevant areas of the UK, indicate the region and the type of work taking place there.

In the event of filming taking place both in and outside of Greater London, outline what portion of the film will be shot outside Greater London and detail the amount of local employment created (for example, rough estimate of the budget, number of jobs involved). 

Having the production company located outside of Greater London is not enough in itself to meet B4, the filmmakers will also need to demonstrate that substantial local employment is created through the film. 

The following examples would not meet this criteria:

  • Work at major studios in the south-east of England such as Leavesden, Pinewood, Shepperton, Longcross and Ealing.
  • Hiring local crew and/or project team in a non-UK film project. However, such individuals can count towards other criteria in Standards B and C if they are from under-represented groups. 

Greater London is defined as the area governed by the Greater London Authority, comprising 32 boroughs plus the City of London. Find out which areas comprise the Greater London area.

B5 – Duty of care policies

Safeguarding policies and guidance for everyone involved in the film project

Criteria

There are policies and initiatives in place to ensure appropriate monitoring and safeguarding of everyone involved in the making of the film, especially vulnerable and under-represented groups. 

Guidance

Demonstrate policies, processes, and practices to foster a safe, positive, healthy, and supportive working culture. Include details of all initiatives related to establishing ways of working, rules, and guidelines aligned with values and expectations to foster a positive workplace culture. Professionals that provide proper advice and on-set guidance are covered in B6. 

Examples of formal documentation and related practices include but are not limited to: 

•    Adoption of BFI’s Dignity at Work Policy and Prevention of Bullying, Harassment and Racism Guidance and similar guidelines 

•    Equality, Equity and Discrimination policies, especially when hiring  

•    Related Disciplinary and Grievance procedures  

•    Mediation interventions and channels  

•    Onboarding and induction for all team members and service providers on these policies and guidelines

Note: A film project may be visited or further enquiries made to ensure that these policies and practices are in place and are being adhered to properly.

B6 – Duty of care roles

Safeguarding for everyone involved in the film project

Criteria

There are designated senior level roles assigned to ensure appropriate monitoring and safeguarding of everyone involved in the making of the film, especially vulnerable and under-represented groups. 

Guidance

In addition to B5, the film must ensure that all involved, especially vulnerable and under-represented groups, are safeguarded, protected, and treated correctly in line with BFI’s Dignity at Work Policy and Prevention of Bullying, Harassment and Racism Guidance. 

Duty of Care roles must be operating at a senior level, equivalent to a head of department or key project team role that carries proper autonomy and accountability.

Provide details outlining intent and investment in how Duty of Care roles are (or will be) addressed.

Proper onboarding is compulsory for all appointed in any of these roles towards providing clarity at the outset for the film project’s values and expectations of safeguarding everyone.



These roles will ensure and safeguard the following (non-exhaustive list):

•    Bullying and harassment

•    Psychological safety and mental health

•    Wellbeing Facilitator

•    Anti-discrimination; zero tolerance for racism, sexism, ableism, classism, ageism, homophobia, transphobia  and any other forms of discrimination.

•    Accessibility coordinator for accessibility and specific considerations

•    Reporting grievances and/or complaints

Additionally, film projects may consider the services of a dedicated ‘Diversity Marshal’, someone who can be available to provide advice to the leadership across all areas, to further ensure that all projects are committed to creating diverse, inclusive, and accessible workspaces.

Having a dedicated person can provide the necessary professional level input, guidance, and accountability. 

The film project could also appoint an existing team member in a related role, or someone who has the ability, seniority, autonomy, and capacity to act as a safeguarding representative who is also well-versed with the overall policies around non-discrimination, bullying and harassment, zero-tolerance commitments, codes of conduct, and emergency contacts.

Note: Criteria C6 (Upskilling) can provide a sustainable revenue stream to fund the training and development of the professionals leading in these roles.

Standard C: Industry access and opportunities

This standard relates to how the film project addresses under-representation with certain roles, as well as how opportunities are presented and followed through with paid employment, career advancement, mentoring, new entrants into the industry, appropriate film credit and structuring roles for greater access and success through considerations and interventions for different types of contracts, working arrangements, work patterns and carer responsibilities.

Completing this Standard does not require naming any individuals. Where roles have yet to be confirmed, provide details of the intended roles that will be offered, in what departments and the recruitment of these roles, the outreach with under-represented groups and/or which barriers will be removed.

All opportunities or roles need to be held by individuals from under-represented groups to meet the criteria. 

Future Takes projects should respond to the full criteria, although some allowances may be made. Other shorts are expected to respond with a summary of how they meet the aims of this Standard overall.

For all criteria within this standard, the overall size of the film project will be considered. Concessions may be made for applications from film projects with very small teams. Film projects with smaller teams would need to provide as much information as possible against the relevant criteria in their application.  

For applications for Development funding, detailed information on any opportunities to be offered during the development stage should be included.’ 

Internships and new entrant roles should have depth and breadth in terms of the experience they will provide to the individual involved. This might include working with a range of team members across the crew or having a range of duties that collectively form a rewarding experience.

Where filming is outside of the UK, opportunities offered to those on location can fulfil the criteria, provided they are from an under-represented group. If pre-production or post-production is taking place in the UK, UK-based opportunities should be offered where possible.

 

Standard C is mandatory for all applicants, except for Development stage applications. Meet at least 2 of the 5 criteria below, of which C1 is mandatory

Standard C contents

C1 – Paid employment (Mandatory)

Paid employment opportunities

Criteria

The film project is offering paid employment including work based training opportunities (such as apprenticeships, internships, and traineeships) for individuals from under-represented groups. 

Guidance

Paid employment for opportunities on the film project pertains to roles such as apprenticeships, internships, early career traineeships, specialist advisers (subject matter experts) and similar. The type of roles and opportunities should be provided, along with either the intention or actual placement of individuals from an under-represented group. 

This criteria does not relate to general crew members being paid for their role. 

Where relevant, provide details of utilising the services of a specific body or organisation that provides pathways and routes into the industry. The number of paid opportunities offered should be proportionate to the overall size of the film project and set against realistic need.  This is particularly important for work based training roles, as these should support the undertaking of real work duties. 

Examples include, but are not limited to, the following types of paid employment opportunities for individuals from under-represented groups:

  • An in-company programme supporting for internships and apprenticeships. 
  • Any specific interventions made for primary caregivers and to encourage those returning to work returnship (e.g. job-share opportunities, on-set childcare, flexible working arrangements.
  • Inclusive recruitment approaches for internship and apprenticeship positions, including the open advertising of opportunities across a wide range of platforms, simplifying language in job adverts, and removing unnecessary pre-requisites for entry. Support may also include aiding access by supporting travel and subsistence costs in addition to the internship/apprenticeship wage. 
  • An external scheme run by a recognised and reputable industry organisation, providing candidates or trainees. 
  • Contractual clarity on the working arrangements, hours of work, parameters for flexibility, any job-share, part-time policy stipulations are clearly outlined to ensure lawful and best practice. 
  • Specialist advisers are subject matter experts who are consulted to guide and advise on the lived experiences, as well as the authenticity of the portrayal of an under-represented group(s) that features significantly in the project in some way (for example, narrative / characters / place / historical event). Such specialist advisers will have the requisite knowledge, experience and will understand the nuances as a consequence of their own background and identity as it relates to under-representation. 

C2 – Training, development and work experience

Training opportunities and skills development 

Criteria

The film project is offering training and insight opportunities (including work experience and other opportunities such as skills/craft development and career development for crew and/or project team members coming from outside of the industry, on-set and one-off training) for individuals from under-represented groups.   

Guidance

Various training opportunities for skills and career development, ongoing programmes, on-set training for those from outside the industry, including one-off ad-hoc training courses and development. Details of the type of training should be provided, along with either the intention or actual programmes, events, seminars that were offered and made available to attend. Where relevant, provide details of utilising the services of a specific body or organisation that provides pathways and routes into the industry. The number of training opportunities offered should be proportionate to the overall size of the project.  

Examples include, but are not limited to, the different types of training and insight opportunities: 

  • Dedicated work experience for individuals from under-represented groups to provide them with greater insight into production roles and departments – including secondary, further, or higher education students
  • Talks, seminars or workshops by key crew or creatives at educational / community organisations for under-represented groups  
  • Opportunities for those from under-represented communities to take on more responsibility on-set / temporarily step-up or receive new training during the course or after production  
  • For development fund projects, a masterclass on writing / development process aimed at a specific audience or demonstrate commitment to diversity at an early stage with casting for read-throughs 

Note: A film project may be visited or further enquiries made to ensure that the opportunities provided are of a high quality.

C3 – Career progression

Promotion to a role that constitutes career progression and provision of relevant support

Criteria

Crew and/or project team members from under-represented groups are given a role that constitutes career progression.    

Guidance

Where team members are from an under-represented group(s) and are assigned to take on roles that are higher than previous positions they’ve held in similar productions and projects, this is validation of a promotion or career progression within the industry.

Information provided should detail the team member’s career progression, by indicating the role within this project team and how this is a promotion from their previous or past roles held, whether during the same production or previous productions. Note, these would be credited roles.

Career progression examples include but are not limited to:

  • Short film to feature film 
  • Trainee to non-trainee
  • Small-scale documentary to feature documentary
  • First film credit

Examples of meaningful career progression includes first full credit or next credit in a professional role for team members from under-represented groups after: 

  • Being in secondary / further / higher education 
  • Taking part in a specific work-based training / apprenticeship programme  
  • Transferring from another industry, including re-training (should not assume early career or young persons only) 

Detail, where relevant, any additional support provided to individuals in their career progression that has not been covered in C2 or C5.

C4 – Mentoring

Meaningful, structured mentoring programmes

Criteria

Structured mentorship programmes for individuals from under-represented groups run as part of the project.    

Guidance

Mentorship programmes that are run as part of the film project that provide mentorship for individuals from under-represented groups. Provide detail on the nature of the mentoring and the under-represented groups that the mentee(s) belong(s) to. 

Examples of mentoring programmes include, but are not limited to:

  • mentee(s) are part of a structured mentorship over the course the project
  • mentee(s) are involved in a wider company or national mentorship programme 
  • mentee(s) continue to be involved in a mentoring programme after film production
  • mentee(s) specific to audience development, before/after film release
  • HODs/creatives are mentors within a wider mentoring programme and mentees are involved with their project. 

In this last case, indicate the role of the mentor but do not name the individual.

Areas of informal sponsorship may also be considered, provided they can be evidenced, where opportunities are provided for emerging talent from under-represented groups who are not necessarily able to access job opportunities or share work experiences in the industry.

Note: Mentors and sponsors should be of a high standard and possess significant skills and experience to provide meaningful opportunities.

C5 Industry support

Support, sponsorship and funding for Duty of Care Roles (B6)

Criteria

Facilitating the upskilling of individuals in Duty of Care Roles in the wider screen industries.    

Guidance

Bigger productions are encouraged to use their influential power, scale, and financial resources for funding initiatives to upskill individuals in the wider screen industries for Duty of Care roles as a sign of goodwill and desire to contribute towards their training and development. This directly relates to B6 and can provide a trained, sustainable workforce for these roles.

Standard D: Audience development

This standard relates to promotional and marketing strategies that will enable the project to reach under-represented audiences, contributing in a broader sense to growing engagement in film of audiences which are more representative of the UK population.

It is important to detail the strategies, access plans and interventions that go beyond your current customary provision or BFI’s contractual minimums for funding. A real commitment to making a project accessible to as wide an audience as possible should be demonstrated.

Standard D is primarily for those productions that have a distributor attached.

Nonetheless, all film projects are encouraged to complete it where possible, even with high-level details on what will be considered in relation to audience development. This Standard would also apply in the event of self-distribution.

Where relevant, Future Takes projects should respond to the full criteria. Other shorts are expected to respond with a summary of how they meet the aims of this Standard overall.

If Completing Standard D: Meet at least 3 of the 5 criteria below, of which D1 is mandatory.

Standard D contents

D1 – Disability related (Mandatory)

Access, materials, and aids

Criteria

Demonstrable evidence and commitment towards access related interventions that make the project accessible to the widest possible audience, beyond your current provision or BFI’s contractual minimums for funding.

Guidance

Demonstrate a real commitment towards ensuring a project is accessible to the widest audience possible.

Provide evidence of disability related access interventions, provisions and materials that go beyond your current standard provision and/or the minimum BFI contractual requirements related to funding. Disability in this criteria refers to visible, as well as non-visible disabilities, including those acquired, physical or cognitive. 

Examples include but are not limited to:

  • accessible ways of communicating and creative approaches to marketing for specific audiences with access requirements
  • new technology that makes the project more accessible
  • enhanced programming activity that provides additional experiences for disabled audiences 
  • interventions that make the project more accessible to individuals who are neurodiverse
  • associated online or app content for the project that are also fully accessible
  • ensuring the project’s venues are accessible, welcoming, and comfortable spaces for disabled audiences (beyond legal / statutory requirements)

Note: For projects which successfully secure BFI funding, there are contractual obligations in the agreement with the BFI. For further information on what these minimum BFI requirements will be, contact productioncoordinator@bfi.org.uk.

D2 Target audience planning

Strategic planning to reach target and/or under-represented audiences

Criteria

A coherent and focused strategy to reach and engage an under-represented group(s) as the target audience.

Guidance

A coherent strategic focus with outreach initiatives for under-represented audiences the project will aim to reach. Indicate the target audiences that will be focused on, detailing why these audiences are typically under-represented amongst audiences for this type of project. 

Provide a detailed strategy explaining the context, key strategies for engaging these groups. Target audiences may include some under-represented groups that are not usually considered under-represented audiences, but may be in regard to particular types of films.  

The emphasis must be on broader strategies to reach the target audience(s), beyond on-screen representation of characters or location.

Some examples are as follows:

  • Strategies to distribute content in a UK indigenous language. The 10 languages indigenous to the UK and still spoken today are English, Scots, British Sign Language, Welsh, Gaelic, Irish, Cornish, Manx, Angloromani, and Shelta
  • A distributor, whose foreign language film releases regularly engage audiences over 30 years old, has plans to reach a younger audience by, for example, working with young programmers’ networks 
  • Events or screenings in conjunction with specific community groups, along with targeted ticket pricing (pay-what-you-can, free, discount)
  • Targeted marketing and partnerships

D3 – Wider audiences

UK regional and national audiences outside of Central London

Criteria

A coherent strategy to add value and to engage audiences from outside of Central London.

Guidance

A clear strategy that adds value and engages new audiences within your specific locations. Provide evidence of additional activities to reach these new audiences in UK Nations and Regions that go beyond the core provision of the project. Strategies may include marketing, events, outreach for audiences. 

Examples may include but are not limited to:

•    Available in specific languages addressing local communities and a focus on local or regional cultures

•    Targeted marketing and outreach activity

•    Strategic interventions to further develop film audiences in a particular area

•    Providing access to film in an area where there currently isn’t provision  

•    Talent Q&As in areas and venues that don’t often have access to such events

•    Ticket offers and incentives e.g. local residents from lower socio-economic households being offered discounted tickets 

Note: There must be evidence of reaching beyond the core audience in regions where the film is being shown. This is about strategically targeting audiences with specific activities that go beyond the project.

D4 – Marketing

Promotional and marketing strategies

Criteria

A coherent strategy towards promotional and marketing activities catering to under-represented audience(s).     

Guidance

Promotional and marketing strategies that engage the under-represented audience(s) that are referenced in D2. Describe the activity and the audience(s) that benefit from it, effectively demonstrating how the film release or promotional strategy will specifically reach them. This relates to marketing, events, outreach, and online strategies that target specific under-served audience group(s) less likely to watch such films 

Examples related to the project include, but are not limited to:

  • Outreach / grassroots marketing
  • Targeted pricing strategies  
  • Marketing materials developed to specifically appeal to the target audience(s)
  • Accessible marketing materials and website 
  • Media campaign (print/ online/ social media / out of home/ radio / podcasts / TV) specific to target audience(s) 
  • An additional or broader publicity campaign relevant to target audience(s)
  • Influencer activity 
  • Added value event screenings (e.g. Q&As) utilising hosts and talent that will appeal to the target audience(s).

Note: There must be evidence of the under-represented  audience(s) benefitting from activity, as well as the nature of the activity

D5 – Partnerships

Partnerships utilising specialist and/or expert knowledge

Criteria

Utilisation of specialist partners that provide expert knowledge to engage under-represented audience(s) outlined in D2.

Guidance

Securing partnerships to utilise specialists and experts to provide advice and their expertise to engage the under-represented audience(s) referenced in D2. The project would evidence new collaborations or alliances formed specifically aimed at increasing the diversity of UK audiences. Describe the partnership, what it aims to achieve, and the under-represented audience(s) that benefit.

Examples of using partnerships for specialist or expert knowledge may include but are not limited to:

•    building community and / or charity partnerships 

•    disability access 

•    linguistic minorities

•    specific national or regional film cultures

•    media and / or brand partnerships relevant to the target audience(s)

•    Partnerships with other cultural organisations relevant to the target audience(s).

Note: Demonstrate the quality and the relevance of the expertise that will be engaged and how it will provide a deeper level of audience engagement and development.  

Standard E: Accessibility

Standard E emphasises the importance of taking intentional and proactive action to increase accessibility across every aspect of the film project’s life cycle, its production, and its release. For example, it covers how accessibility is addressed and adhered to with regards to on-screen character portrayal or storylines or how talent are being interviewed, hired, and cast.

It covers the workplace considerations, comprising creative leadership, crew, film team members and other film project roles. It covers how training and development programmes, interventions, and career opportunities are offered and executed. 

Going beyond Standard D, this standard requires evidence of conscious commitment and tangible actions to improve overall accessibility.

It is important to detail the strategies, access plans and interventions that go beyond specific requirements or BFI contractual minimums for funding. 

Future Takes projects should respond to the full criteria. Other shorts should respond to this Standard in as much detail as possible.

Development stage applicants should address this Standard as fully as possible for the stage they are at.

Standard E is mandatory for all applicants.

Standard E contents

E1 Accessibility

Accessibility considerations, commitments and actions 

Criteria

A 500-word statement on commitments and/or delivered actions to improve overall accessibility considerations during the film project.

Guidance

Provide an overall summary, in the form of a statement (500 words), with clear intentions or evidence that a holistic approach is being taken across all standards to address accessibility of the film project in the widest possible sense. 

Accessibility is the practice of making information, activities, and/or environments available, practical, meaningful, and usable to the broadest population.

Detail the strategies and access plans that increase overall accessibility for all individuals, especially those with visible, as well as non-visible disabilities, including those with acquired, physical or cognitive conditions that require considerations to enhance their engagement and experience.

Beyond physical ability, demonstrate efforts to evaluate and address accessibility needs, including actions that focus on universal design frameworks, presentation of information and terminology, accessible user design, accounting for learning styles, working preferences, and neurodiversity. 

Removing socioeconomic and geographic barriers and consideration for different cultures and religions built into all aspects of the project may also be referenced. 

Access plans should evidence accessibility measures across a broad scope of activities across all standards and be supported by a budget allocation plan.  

Examples include but are not limited to:

•    Filmmaking (including cast) recruitment and onboarding processes

•    Creation of dedicated advisory roles 

•    Accessible training, development, mentoring

•    Accessible sites, set locations/studios, screening venues, toilets etc. 

•    Accessible promotional marketing materials and events 

Actions implemented to intentionally raise awareness and encourage inclusive behaviours around accessibility will be considered.

Note: Information already provided in Standard D1 should not be repeated in this section.

For any questions about these criteria or the Diversity Standards process, please contact the Diversity Standards team by email diversitystandards@bfi.org.uk or phone 020 7173 3273.