The release of Enola Holmes has sparked more than just box office chatter. It has reignited a vital debate about the value of homegrown talent in a British film industry often overshadowed by Hollywood. Millie Bobby Brown and Louis Partridge, two young actors who honed their craft in UK productions, now headline a global franchise. For workers in the film sector, this is not just a matter of national pride. It is about jobs, wages and the future of an industry that employs thousands of electricians, set builders and catering staff.
I spoke to Sarah Jenkins, a set decorator from Manchester who has worked on UK film sets for 14 years. She told me: "Seeing Millie and Louis succeed makes me feel hopeful. But the reality is most of us are still struggling with zero hours contracts and rising costs of living in London." Her concerns echo a wider unease. While the UK film industry generates billions, the wealth is not always shared. A 2023 report by the BFI found that 40 per cent of film workers earned below the living wage. The pandemic exacerbated the problem. Many freelancers fell through the cracks of government support.
Enola Holmes itself was produced by Legendary Entertainment, a US studio, but it was filmed in locations across England, from London to the Home Counties. This creates local employment. But the cast and crew often face long hours and job insecurity after the final clapperboard. The lack of a permanent production base means work disappears once the shoot ends.
Union leaders have long campaigned for a stronger UK film production sector that does not rely so heavily on foreign investment. They point to the success of the British television industry, where regulation ensures a steady stream of commissions and consistent employment. Film is far more volatile. The government's tax relief for high-end television and film has drawn in production, but critics say it has not done enough to improve workers' conditions.
Millie Bobby Brown, who rose to fame through Stranger Things, represents a new wave of British actors who can command international attention without leaving home. But her success is exceptional. For every breakout star, there are hundreds of actors and crew members scraping by on short-term contracts.
The film industry's reliance on a few blockbuster productions like Enola Holmes creates a boom and bust cycle. During production, hotels fill, catering companies thrive and local businesses benefit. But once filming wraps, the vacuum is felt acutely. In regions outside London, this volatility is even more pronounced. The North West of England, for example, has seen a surge in film production thanks to the expansion of studios in Manchester and Liverpool. But workers there tell me they still face a postcode lottery of wages and conditions.
What the industry needs is a long-term strategy. Not just tax breaks for global studios, but investment in skills training, better enforcement of employment rights and a commitment to regional production hubs. The success of Enola Holmes shows that audiences crave British stories told by British talent. But that hunger must translate into sustainable livelihoods for those behind the scenes.
As the film enjoys its moment in the spotlight, let us not forget the carpenters, the drivers, the make-up artists who make such productions possible. Their work is not glamorous. It is hard graft. And it deserves to be valued not just in applause but in fair pay and job security.
