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At the BFI London Film Festival’s industry forum, international producers gathered to discuss how the United Kingdom’s evolving tax credit system and co-production opportunities are reshaping the country’s reputation in the global film landscape. The session spotlighted how Britain is increasingly becoming a strategic first stop for filmmakers eyeing global success.
Polish producer Klaudia Śmieja-Rostworowska of Madants Film hailed the U.K.’s tax credit scheme as “exceptional,” emphasizing that it offers filmmakers a crucial gateway to bigger projects without compromising cultural authenticity. “Great Britain comes with so many opportunities,” she said. “It’s really worth doing with the U.K. first before you jump into the bigger U.S. market.” She added that “Great Britain is the first stop when we dream about Hollywood,” echoing a sentiment shared by many filmmakers seeking to balance artistic control with financial practicality.
The discussion featured prominent producers behind films such as Sentimental Value, Orphan, Dreamers, and Diamonds in the Sand. Among them, Emily Morgan of Quiddity Films noted that U.K. financing sources have become increasingly attractive, especially for minority co-producers. “The sources of money that come from here are attractive these days, and I think the crews are brilliant,” Morgan said, though she acknowledged that “the legals are intense.”
Morgan, whose credits include The Settlers and I’m Not a Witch, is currently finishing production on The Wolf Will Tear Your Immaculate Hands in Belfast. The film—an international collaboration between Sweden, Iceland, Belgium, and the U.K.—relied on Britain for 30% of its financing, primarily through the country’s tax credit, the BFI Global Screen Fund, and Northern Ireland Screen support.
The Global Screen Fund, introduced after Brexit to replace Creative Europe funding, was praised for sustaining the U.K.’s participation in international projects. Morgan admitted she had once considered relocating to Amsterdam but stayed after the fund “started making [her] co-producing dreams come true.”
Norwegian producer Maria Ekerhovd of Mer Film discussed the financing behind Sentimental Value, directed by Joachim Trier (The Worst Person in the World). The film brought together five countries—Norway, France, Sweden, Denmark, and Germany—with approximately 70% of the budget derived from public funding sources. “We started the financing really before we had anything,” Ekerhovd said, adding that their ability to choose partners strategically ensured greater creative freedom.
Meanwhile, Lorna Tee, producer and Secretary General of the Asian Film Alliance Network, highlighted her work on the Cannes title Viet and Nam and Diamonds in the Sand. The latter is a Philippines-Japan co-production with 70% Filipino and 30% Japanese financing, underscoring the growing complexity of multi-nation collaborations.
Despite the technical and legal challenges, all panelists agreed that personal trust and shared vision outweigh rigid contractual frameworks. “Choosing partners—those physical partners that will be your colleagues for another five years—is crucial,” Śmieja-Rostworowska said. Tee added that informal interactions help build confidence: “Eating together is really important in Asia… you get to know people differently when you see them relaxed.”
The producers also addressed their sometimes uneasy relationships with sales agents. Ekerhovd noted that sales agents “often come in late, get out early, and always earn money—while we rarely do,” though she credited MK2 Films’ involvement in Sentimental Value for helping secure its financing. Tee cautioned that some agents overcharge debut directors, limiting festival exposure due to excessive screening fees.
Ultimately, the panelists concluded that while co-productions offer creative and financial rewards, they must be built on genuine partnerships, not just funding needs. As Śmieja-Rostworowska cautioned, “Convincing people to do five or six countries is not always a good idea—the administrative burdens can outweigh the benefits.”
Despite occasional hurdles, the mood was optimistic. With the U.K.’s tax credit system and Global Screen Fund providing stability post-Brexit, and trusted networks forming across continents, Britain is reaffirming its status as a launchpad for globally ambitious storytelling.
