The British film industry is having a moment. Again. This time, it's wrapped in the corsets and cobblestones of a Victorian London that never was, but ought to be. At the centre of it all are two of the nation's most bankable young stars: Millie Bobby Brown and Louis Partridge. Their latest outing in 'Enola Holmes' is more than a sequel; it's a statement of intent from a sector that has quietly become one of the UK's most robust cultural exports.
But let's not get carried away by the glitter of red carpet premieres. For every headline about box office records, there is a film crew member worrying about the cost of a pint of milk. The British film industry might be dominant on screen, but behind the scenes, the real economy is biting hard.
Brown, at 19, is already a household name. Her journey from a childhood in Bournemouth to global stardom is a testament to talent but also to the infrastructure of British television and film that nurtured her. Partridge, meanwhile, emerged from the same system, cutting his teeth on period dramas and indie flicks. Their success is our success, but it raises uncomfortable questions about who gets a seat at this table.
Film industry data from the British Film Institute shows that production spend in the UK hit a record £5.6 billion in 2023. That sounds like good news. But dig deeper, and the picture is more fractured. Nearly 80% of that spend comes from inward investment: American studios setting up shop here for the tax breaks. The result is a two-tier workforce. At the top, a handful of stars earn millions. At the bottom, runners and technicians work 14-hour days for minimum wage, often on zero-hour contracts.
The unions have noticed. BECTU, the broadcasting and entertainment union, has been campaigning for better pay and conditions on blockbuster sets. I spoke to a set designer last week who worked on a major franchise film. She told me she earns less now than she did five years ago, once inflation is accounted for. The cost of living has soared, but her day rate has barely budged. She called it 'the McJob of the arts'.
This is the paradox of the British film industry: it produces Oscar-winning content but fails to provide stable livelihoods for the people who make it. The government's recent announcement of increased tax relief for film and TV production was welcomed. But it came with no strings attached on wages or conditions. A missed opportunity.
Meanwhile, in the real economy, the price of bread continues to climb. According to the Office for National Statistics, the cost of bread has risen by 18% year on year. A loaf that cost £1.10 now costs £1.30. For a family on universal credit, that adds up. And it's not just bread. Milk, eggs, cheese: all have seen double digit price rises. The inflation rate might be easing, but the cumulative effect of three years of high prices means household budgets are stretched thinner than ever.
This is where the headlines about Millie Bobby Brown and Louis Partridge feel distant. Their world is one of stylists and premieres. Most people's world is one of pay day loans and food banks. The disconnect isn't the stars' fault. They work hard and have earned their place. But the celebration of their success can feel like a glossing over of deeper problems.
Let's talk about regional inequality. Nearly all major film production is centred in London and the South East. The government's 'levelling up' agenda promised to spread the wealth, but the reality is that the North still sees a fraction of the investment. Manchester has a growing media hub, but it's a drop in the ocean. Young people in Sunderland or Stoke don't see a path into the industry. They see a gilded cage with a London postcode.
And yet, there is hope. The success of 'Enola Holmes' and other British productions shows there is appetite for our stories. The challenge is to make sure the economic benefits are shared more widely. That means union pressure, government action, and a shift in mindset from producers who still treat labour as a disposable cost.
I am not here to rain on the parade. 'Enola Holmes' is a delight, and Brown and Partridge are terrific. But as a reporter who watches the pennies, I cannot ignore the cost of the ticket. The British film industry is a jewel in our crown, but the crown is tarnished if the workers who polish it cannot afford to heat their homes.
So, as we celebrate the latest chapter in Enola's adventures, let's also keep an eye on the real world. The one where the price of a cinema ticket could buy a family a loaf of bread and a pint of milk. The one where the same tax breaks that fund the films could be tied to fair wages. The one where the story behind the story matters just as much.
