The stars of the latest Enola Holmes film have used their platform to address the growing crisis in youth mental health, winning praise from the UK’s film and television industry body for their advocacy. Millie Bobby Brown and Henry Cavill, who play the titular detective and her brother Sherlock, appeared at a special screening in Manchester to launch a new initiative aimed at giving working-class young people a foothold in the creative industries.
The event, part of the British Film Institute’s (BFI) Young Talent Programme, comes as the nation reels from a surge in mental health referrals for under-18s. Official figures show waiting lists for Child and Adolescent Mental Health Services (CAMHS) have reached record levels, with some families waiting over two years for treatment. Brown, 21, spoke candidly about her own struggles with anxiety during lockdown and called for greater investment in early intervention.
“It’s not enough to say ‘it’s okay to not be okay’ if there’s no one to talk to,” she told the audience. “Young people need real services, not just hashtags.” Cavill echoed her comments, noting that the film’s themes of isolation and resilience resonated with many fans. “These are not frivolous issues. They affect every family, every community,” he said.
The BFI’s scheme, which offers paid placements and mentoring to 16-25 year olds from low-income backgrounds, has already placed 120 young people in film and TV roles since its launch in 2022. Chief Executive Ben Roberts said the programme was a direct response to the “class ceiling” in the arts. “We cannot have an industry that only reflects a narrow slice of society,” he said. “These young people bring stories and perspectives that enrich our culture.”
The timing of the announcement is notable. The UK film industry contributes over £6 billion to the economy annually, but regional access remains uneven. A 2023 report from the Creative Industries Policy and Evidence Centre found that 70% of film and TV workers are from professional backgrounds, with just 9% from working-class origins. In the North West, where the screening took place, the figure drops to 5%.
One of the new recruits, 19-year-old Leah Kennedy from Salford, said the placement had been a lifeline. “I’d been struggling with depression after leaving school. This gave me a purpose. I never thought I could work in film. My mum is a cleaner, my dad is on disability. This programme doesn’t just open doors, it builds new houses,” she said.
But campaigners warn that such schemes cannot substitute for systemic change. The decision to axe the Arts Council’s Creative People and Places fund in 2024 has hit grassroots projects hard. Sarah Jenkins, a Labour MP and former union organiser, said: “We are asking young people to be resilient while cutting the very services that build resilience. It’s a vicious cycle.”
The industry itself is grappling with a mental health crisis. A 2024 survey by the Film and TV Charity found that 72% of workers reported poor mental health in the past year, with freelancers in particular citing financial insecurity and long hours. The charity has called for mandatory wellbeing policies on all productions.
As the credits rolled on the new Enola Holmes film, Brown and Cavill met with placement students backstage. Many spoke of the pressure to succeed in an industry where zero-hour contracts are the norm. “We need more stability,” said one. “It’s hard to tell yourself ‘this will get better’ when you don’t know if you’ll have work next month.”
The BFI has pledged to expand the programme to 500 placements by 2030, but critics argue it is a drop in the ocean. Still, for Kennedy and her cohort, it is a start. “I used to think mental health was something you just had to get over,” she said. “Now I know it’s something we all carry, and we all need help with. This film, this scheme: it’s a reminder that someone is listening.”
