Call it the Kneecap effect. Rich Peppiatt’s raucous Irish-language comedy drama racked up an impressive $2.7m in UK and Irish ticket sales for Curzon and Wildcard when it was released in August 2024. Now UK independent film distributors are striking an unusually upbeat note about 2025.
After the turbulence of the post-pandemic period, many see new opportunities in the marketplace. “I am more optimistic than I have been in years,” says Clare Binns, managing director of UK arthouse exhibitor and distributor Picturehouse, whose upcoming releases include La Cocina and The Last Showgirl.
“We are feeling quite buoyant,” agrees Laura Wilson, Altitude Media Group’s head of development and acquisitions. Altitude’s upcoming releases include Oscar contender I’m Still Here and festival favourite Sister Midnight.
“[UK independent distribution] is definitely showing green shoots of improvement,” adds Zygi Kamasa, CEO and founder of True Brit Entertainment, an outfit devoted to making and releasing UK fare. True Brit will be giving a 500-cinema release in March to Nick Love’s new comedy drama Marching Powder, and is anticipating a similar push later in the year for Gurinder Chadha’s Christmas Karma.
“There is a certain indomitable spirit among the FDA membership about the future of independent film and its ability to connect with younger audiences,” says Andy Leyshon, chief executive of the UK’s Film Distributors’ Association (FDA). “We have seen some decent successes and coupled with the emergence of several new independent players in the market, we are hopeful for a healthy future ahead.”
Even VoD players are now talking up their prospects in the UK theatrical market. Mubi, an international streamer and producer as well as a distributor, revealed Luca Guadagnino’s Queer had become its seventh theatrical title to pass $1m at the UK and Ireland box office. (Mubi’s upcoming releases include Berlin Competition entry Hot Milk and Kelly Reichardt’s The Mastermind, which the company fully financed.)
The creation of Vue Lumière, the UK and Ireland indie distribution arm of UK multiplex giant Vue under director of distribution Eve Gabereau, suggests the big UK exhibitors now see an upside in programming beyond the Hollywood superhero and animation franchises. Vue Lumière is expected to release 10 to 12 films a year, and these will be shown not just in Vue’s UK sites but across Europe too.
“[Vue has] been very clear about supporting a broader range of films and they are taking distribution seriously,” says Binns. “Yes, it is another competitor but it can only be good for the market. It can only be good for business as a whole.”
“Audiences are quite hungry for strong independent films,” concurs Tom Stewart, acquisitions director at Parkland Pictures, whose forthcoming titles include a 200-screen release of Francois Ozon’s When Autumn Falls.
Others, like Altitude’s Wilson, note that with the withdrawal from the market of eOne and Pathé, “anyone coming in to support more arthouse and specialist films is great… the more films in the specialty space that work, the better it is for everybody”.
After the pandemic
Any talk of recovery in the sector has to be tempered by the acknowledgement that the post-Covid period has been difficult in the extreme for the sector. Distributors, though, seem reassured by the return of former CEO Philip Knatchbull as interim executive chairman at Curzon, and the appointment of company founder Lyn Goleby in the same role at Picturehouse.
Ongoing discussions about the possibility of distribution p&a tax reliefs are regarded as positive signs. The p&a idea was proposed by FDA and comes with broad cross-industry support from the BFI, PACT, UK Cinema Association, Independent Cinema Office and British Screen Forum, among others. “It would give buyers the confidence to take chances on films and build up theatrical again,” says Altitude’s Wilson.
Another encouraging development is the discussion about the UK rejoining Creative Europe Media, the EU support programme out of which the UK industry was bounced after Brexit. This could free up further funds for UK distributors, especially those buying multi-territory rights. In January, BFI chair Jay Hunt told the UK parliament’s cross-party culture, media and sport committee about the importance of “finding a way” to help distributors.
There is already evidence some UK indie titles are breaking through. Studiocanal did strong business in 2024 with Thea Sharrock’s comedy drama Wicked Little Letters, which grossed $12.2m in the UK; James Hawes’ One Life generated $12.8m for Warner Bros; and The Critic, which True Brit released in September in partnership with Lionsgate, took $2.1m at the UK box office, which Kamasa describes as “a strong result on a not very big p&a”.
Distributors insist it is not just wishful thinking that a new, younger audience is emerging. Directors such as Rose Glass, whose Love Lies Bleeding grossed $1.3m for Lionsgate in the UK and Ireland, and Sean Baker, whose Oscar-nominated Anora starring Mikey Madison, generated UK and Ireland ticket sales of $2.6m for Universal Pictures, are connecting with younger viewers.
“Mubi has seen recent success in theatrical releases like The Substance, Queer, Perfect Days, Priscilla, How To Have Sex and Aftersun attracting younger audiences,” says a Mubi spokesperson. “Mubi GO is used primarily by cinemagoers under 34.”
Curzon and Vue International have also been talking up the importance of strategic alliances with international partners. The former has 12 films in development with its international distribution partners Madman in Australia and Cinéart in Benelux. “Partnerships are absolutely the way forward,” agrees Binns. She cites the example of Pillion, the debut feature of UK filmmaker Harry Lighton, on which Picturehouse is working with Benelux outfit September Film.
It helps that the release windows debate appears to have been resolved for now. Most in the industry acknowledge the value of a period of theatrical exclusivity. The current rule of thumb for the big exhibitors seems to be 31 days for smaller indie titles and 45 days for bigger movies — although there is now far more flexibility.
“We have full 16-week windows, day-and-date, festival-to-platform, shorter windows and event releasing,” says the Mubi spokesperson of the company’s various strategies. They confirm forthcoming releases The End and September Says will have exclusive theatrical runs.
“It makes sense not to have strict rules that damage a film,” says Binns. With some success, Picturehouse has continued to play titles — including Oscar contenders Anora and Wicked — in theatres at the same time they are available to rent on VoD.
When it comes to acquiring indie UK titles, distributors note that streaming platforms are also prepared to buy after a theatrical run. For example, Netflix recently bought Studiocanal titles Back To Black and Wicked Little Letters. “Netflix, Amazon and Sky are certainly buying more independent films,” says Kamasa. “They are making slightly less of their own movies and they still need independent films on their services.”
There is plenty still to worry about. One short-term concern is that not as many packaged products are available at the European Film Market because of the fires in Los Angeles. But buyers are striking a defiant note. “It has been tough the last couple of years but we are all emerging stronger and fitter than we have ever been and with a great year ahead of us,” says Binns, summing up the prevailing mood.
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