Millie Bobby Brown and Louis Partridge graced the red carpet yesterday for the premiere of 'Enola Holmes 2', a glossy production that the British film industry is touting as a success story. The film, produced by Legendary Entertainment, showcases the best of British acting talent and has drawn international attention. But while cameras flashed and stars smiled, I couldn't help but think of the widening gap between the glitter of London's Leicester Square and the grim reality of the industrial North, where my own roots lie.
The film industry, like so many others in this country, has become a tale of two Englands. According to the British Film Institute, film production in the UK contributed a record-breaking £5.6 billion to the economy in 2019. But where does this money go? A look at the map reveals a stark truth. The vast majority of film and television production is concentrated in London and the South East. The North, once the powerhouse of the nation, is left with scraps. The Elstree and Pinewood studios are the crown jewels, but what of Manchester, Liverpool, or Leeds? The government's promise to level up remains just that: a promise.
Meanwhile, the cost of living crisis continues to squeeze working families. The price of bread has risen by nearly 10% in the past year. Energy bills have soared. And for those working behind the scenes in the film industry, the picture is equally bleak. Below-the-line workers, the set builders, the sound engineers, the lighting technicians, are struggling to make ends meet. Many are freelancers, with no sick pay, no holiday pay, and no job security. The success of 'Enola Holmes 2' is built on their labour, but they are not sharing in the rewards.
Union representation in the film industry has historically been weak, but that is starting to change. BECTU, the broadcasting, entertainment, communications and theatre union, has seen a surge in membership among film workers. Last year, they successfully negotiated a pay rise for staff at the BBC, but the independent film sector remains a wild west of low pay and long hours. There is a growing movement for fair wages and better conditions, but it is an uphill battle.
I am not here to diminish the achievements of Millie Bobby Brown or Louis Partridge. They are talented young actors, and they deserve their success. But I am here to ask: what is the real cost of this success? When we celebrate a film, we should also consider the conditions of the workers who made it. The same applies to every industry: the gig economy, the care sector, retail. The narrative of individual success obscures the structural inequalities that allow a few to thrive while many struggle.
The British film industry needs to look beyond London and invest in the regions. The North has a rich history of filmmaking, from 'The Full Monty' to 'This Is England'. There is talent and infrastructure here, but it has been neglected. The government's film tax credits have been a boon for the industry, but they need to be tied to regional investment. A film claiming tax relief should be required to film in the regions, to hire local crew, and to pay fair wages.
As the credits roll on 'Enola Holmes 2', I hope that the film industry and the government take note. The spotlight should not just be on the stars, but on the system that supports them. The real economy is not just about box office receipts; it is about the price of bread, the security of a job, and the dignity of labour. Until the benefits of success are shared more widely, the picture remains unfinished.
