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2022-03-31-accounts

THE BRITISH FEDERATION OF FILM SOCIETIES TRADING AS

CINEMA FOR ALL 2021-22 ANNUAL REPORT

CHARITY NUMBER: 276633 COMPANY NUMBER: 01391200

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CONTENTS

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||| |---|---| |CINEMA FOR ALL|3| |About Us|4| |Community Cinema|5| |REVIEW OF THE YEAR|6| |Chair’s Report|7| |Valuing Our Members|8| |Education and Culture|15| |Celebrating Success|20| |Environmental Sustainability|29| |Equity, Diversity and Inclusion Report|32| |Hear from the Team|35| |Chief Executive’s Report|38| |GOVERNANCE|40| |Governance Review|41| |42| |Public Benefit| |Legal and Administrative Information|45| |Directors and Trustees|47| |Patrons and the Honorary Council|50| |Risk Management and Serious Incidents|52| |Policies|54| |FINANCIAL REPORT|57| |Financial Review of the Year|58| |Independent Examiner’s Report|59| |Statement of Financial Activities|60| |Balance Sheet|62| |Notes to the Financial Statements|63| |2021/22 HIGHLIGHTS|72| |ACKNOWLEDGEMENTS|73|

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CINEMA FOR ALL *•

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ABOUT US

Cinema For All’s core purpose is to support, sustain and develop the community cineCinema For All’s core purpose is to support, sustain and develop the community cinema sector in the ma sector in the UK, and to deliver public value to communities and cinema audiences UK, and to deliver public value to communities and cinema audiences across the country. Our vision is, quite literally, across the country. Our vision is, quite literally, cinema for all, that all communities, cinema for all , that all communities, whoever, and wherever they may be, have access to a high-quality cinema expwhoever, and wherev er ience. they may be, have access to a high-quality cinema experience.

Our mission is to: Our mission is to:

community film exhibition

• act as a champion for the The strategic outcomes 2023 on which all our activities are focused are that:UK’s community cinema sector.

•Community cinema exhibitors and audiences are more diverse and The strategic outcomes 2023 on representative of their communities. which all our activities are focused •Community cinema audiences have a are that: greater breadth and depth of • engagement with film.Community cinema ex•There is a greater level of confidence, hibitors and audiences are more capability and capacity within the diverse and representative of their community cinema sector. communities. •Cinema For All is the leading voice for • community film exhibition.Community cinema audiences have a greater breadth and depth of engagement with film. With a key enabler that: • There is a greater level of

Cinema For All is more robust, financially fit and confidence, capability and capacviable to better represent the diversity of all communities within the UK.

The values that underpin all our The values that underpin all our activities are: activities are:

• Inclusivity Inclusivity We are a grassroots organisation We are a grassroots organisation committed to the development of committed to the development of comco m unity through film, wherever, and munity through film, wherevwhoever, those communities may be. er, and whoever, those communi-

ties may be. Expertise • Expertise We are a trusted source of guidance We are a trusted source of guidand advice, and a leading advocate for community cinema. ance and advice, and a leading advocate for community cinema.

Creativity We are innovative, imaginative and resourceful. With a key enabler that:

• Cinema For All is more Helpfulness robust, financially fit and viable to We are responsive, friendly and better represent the diversity of approachable. all communities within the UK.

Empowerment

We work tirelessly to nurture and support others to deliver our shared vision of . cinema for all

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COMMUNITY CINEMA

A community cinema is a properly constituted, not for profit organisation, which screens films in its local community; more often than not, set up and led by volunteers. These organisations often put on additional events around the screening, or offer educational activities or resources to their local audiences. These groups may call themselves: film societies, film clubs, village screens, community cinemas, or any other name that suits their community.

Cinema For All is the only national organisation working exclusively on behalf of community cinema. As a member organisation, Cinema For All speaks for, and on behalf of, the sector on the national cultural stage, maintaining relationships with a wide range of organisations such as film distribtors, industry trade bodies, national agencies and government bodies to ensure that community cinema is adequately represented and supported.

Haringey Global Cinema - Mustang screening

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REVIEW OFTHE YEAR

CHAIR’S REPORT

It has been great to pick up the reins of chairing Cinema For All from the admirable previous incumbent, Gemma Bird. It’s an interesting and challenging time for us. Once again this has been a year of, to a large extent, reacting to events beyond our control. The pandemic continued its diminution of our cultural life. Like many organisations we faced new recruitment challenges. The changing film exhibition landscape impacted on both Cinema For All and our membership. Nevertheless, we are in good shape. Our membership organisations are bouncing back in ways and at velocities that suit their own memberships. Demand for our services is on the rise and in some areas is back to pre-pandemic levels. Our key partnerships with the BFI and Esmée Fairbairn Foundation are, if anything, stronger than ever and their continued support is appreciated.

We have a remarkable staff team and they have navigated the year with aplomb. All the while coping with the impact of prolonged periods of remote working and our shortfall in capacity as we grappled with the new recruitment environment. The team are also working on important new developments and partnerships to tackle environmental impact and to preserve and share the wonderful screen heritage of film societies and community cinema. Cinema For All will also ensure we are an active part of the international screen community through our membership of the International Federation of Film Societies.

My thanks must also go to fellow Board members. I would like to single out our Treasurer, Graham Hill. He has continued to provide invaluable support during a period

beyond his chosen tenure and when, like many, he was adapting to pandemic induced changes to his professional life.

We have introduced a new Working Group structure where Board members work directly with the staff team on key areas of our work. Thanks to my colleagues who have embraced this approach. We are looking to expand and strengthen the Board in the coming months so watch this space.

We live in challenging times and the work of film societies and community cinemas in ensuring screen culture is accessible to anyone, no matter where they live or their economic circumstances is vital. Cinema For All will continue to do everything possible to support the work of our members and to encourage new initiatives that connect people and film.

Andrew Ormston, Chair of the Board of Trustees

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VALUING OUR MEMBERS

At Cinema For All we are always working towards better helping, supporting and developing our members and the wider community cinema sector. The organisation is, at its heart, an umbrella organisation, and we are proud to represent, support and build a community of community cinemas.

Whether it be through that first call to our enquiry line, through our coaching and bursary programmes, by advocating on their behalf to partners and stakeholders, or through member benefits and services such as the Booking Scheme or equipment hire services, the Cinema For All staff and Board of Trustees have the interests of our members at the heart of everything we do.

In 2021-22, the community cinema sector continued to cope with the fluctuations and changes as the various COVID-19 waves and the legacy of lockdowns. However, it has been wonderful to hear about each and every community cinema door reopening, each audience member return and to listen to wonderful stories shared about people reconnecting through the magic of cinema.

Writing our annual report gives trustees and the operations team an opportunity to reflect and consider the challenges and opportunities that have presented themselves in the past year. It also allows us to review how we as an organisation, and how the sector have responded. We hope you enjoy this snapshot of our activities this year.

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MEMBERSHIP

Our total membership in 2021-22 stands at 1535, with 267 paid members. We were delighted to welcome 51 new members during the year.

Due the continuing impact of the COVID-19 pandemic, which saw many groups re-open more slowly than commercial cinemas, our paid membership levels are lower than in recent years. An additional factor impacting this has been that fewer people set up new community cinemas in a year that was affected by national restrictions and increased infection rates – particularly around winter 2021. However, we are pleased to report that membership has improved with each passing month, as both groups reopen and new groups set up.

MEMBERS ACROSS THE UK

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||| |---|---| |London:|145| |Midlands:|165| |North:|308| |Northern Ireland:|41| |Scotland:|254| |South East:|339| |South West:|198| |Wales:|85|

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Cinema For All Membership

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All Members Full/Associate Members
1800
1600
1531 1535
1400 1421
1256
1200
1104
1000
977
800
716
600 607
400 397 401 428
357
200 258 295 240 267
0
2014/15 2015/16 2016/17 2017/18 2018/19 2019/20 2020/21 2021/22
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ACTIVITIES IN 2021-22

COACHING

In 2021-22, the Cinema For All team delivered in-depth, accessible and often bespoke training and coaching to over 50 organisations. Our Sustain programme, aimed at existing community cinemas, supported trainees with their goals, to move towards recovering from lockdown closures, to become more accessible or to develop new projects and programmes. Our Launchpad programme, aimed at brand new groups, support trainees to set up their organisations, to implement diverse and inclusive programmes and to bring shared film experiences back to their communities. Our Access Launchpad groups were set up for and by people with access needs to create inclusive and diverse cinema spaces, and our Next Gen groups ensured that the culture of community cinema is shared across all age groups.

Sustain Shine: 9 groups Sustain Develop: 10 groups Collaborate: 5 projects, 8 groups Launchpad: 15 groups Next Gen: 6 groups Access Launchpad: 3 groups

92% of Launchpad/Next Gen/Access Launchpad participants said the coaching programme encouraged them to watch more films. 100% said it encouraged them to think differently about films they watched e.g. for audience development purposes.

‘The training and coaching during the Sustain Develop programme has helped the Thamesmead Travelling Cinema advance to the next level of operation. This has enabled us to confidently train Young People to operate the cinema through our Volunteer programme, thus also making us relevant to the local community we serve.

The programme has introduced us to the world of community cinema and has given us the confidence to develop and run our own.’ Thamesmead Texas Travelling Cinema

For more in depth stories from our coaching cohort, look to our film education section.

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BOOKING SCHEME

In 2021-22 the Booking Scheme’s recovery went from strength to strength with community cinemas bookings steadily growing. There were 228 Booking Scheme screenings in 2021-22 reaching a reported audiences of 10,315 people.

In addition to the fantastic titles we offer through the Booking Scheme, our Curate programme supports great independent films that may not have had distribution or large marketing campaigns but deserve to be shared with audiences.

Our most popular titles during this year have been: Limbo Rocks Minari I Never Cry

Other popular new titles added to the Booking Scheme in 2021-22 include Oscar and BAFTA winner Drive My Car, Hive, Titane, Ali and Ava and Dear Tenant .

This year’s films were: Bulado Second Spring I Am Belmaya

The releases featured marketing and film packs to help community cinemas promote their screenings with ease and creativity. Additionally, groups could access short films to accompany I Am Belmaya and a director Q+A for Second Spring. Curate films were available for just £80 film to encourage groups to programme the film. We have been very happy to have supported these films, which tell such important stories from around the world.

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OTHER SERVICES

We have continued to build our social media presence in 2021-22:

Twitter: 38,621 profile views Tweet Impressions: 389, 000 Instagram: 1,775 followers Facebook: 2,673 followers

QUERIES AND WEBSITE

We received 393 queries in 2021-22. Though we returned to the office from September, we introduced ‘Pick Time’ booking appointments where callers can arrange a call back or Zoom meeting with staff at their preferred chosen time.

Our website remains popular and this year has had over 100,000 users visiting the main site. mycommunitycinema.org.uk, which launched in 2019 at the annual conference. We continue to encourage all community cinemas to to add their profile and events to this site.

EQUIPMENT HIRE

Equipment hire has been steadily recovering with a total of 62 bookings in 2021-22, reaching 1,486 audience members. However, the scheme has been a slower service to get up to speed and in February 2022 we paused the hire scheme due to temporarily low staffing levels. We are pleased to say that we have recently recruited two staff new members, and a newly streamlined scheme will launch soon, which will make the booking and management processes much easier and more efficient.

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PARTNERS AND PROJECTS

HERITAGE/ ARCHIVE

We are pleased to share that we are embarking on a series of projects and campaigns ahead of the 2025 100th anniversary of the first film society. We have already begun working with both De Montfort University and the University of Sheffield on a project to grow, preserve and index the Cinema For All film society archive, as well as a series of events to celebrate our heritage and build the archive with member support. Our academic partner on this project is the wonderful Dr. Matthew Jones at De Montfort University, who will also help us pursue further opportunities to unlock the heritage of the volunteer led-movement, using it to inspire future generations of community cinema organisers. Watch this space for much more in 2022-23!

CONSULTANCY AND EXTERNAL TRAINING PARTNERS

In order to help rebuild and regrow following the UK lockdowns, our business development plan has focused on income generation through work that strengthens the organisation, helps us achieve our charitable objectives and increases the support we can offer our members. Some of this work involves consultancy with distribution and exhibition partners, and some involves delivering additional training to institutions and local authorities. These consultancy and partnerships often involve supporting special releases of films to help them get into community cinemas and in front of local audiences.

In 2022-23 we worked with partners such as Picturehouses, Sheffield City Council and Bohemia Media and have supported special releases of titles such as Herself and Everybody’s Talking About Jamie (securing the only community cinema screenings in the UK). Our training clients have included the University of Ulster, University of Liverpool and Leap Bradford. We also continue to work with Regional Screen Scotland on their ‘Cinema Near You’ project, delivering training to several regional cohorts across the country.

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TRUSTS AND FOUNDATION SUPPORT

A vital moment for the organisation came in July 2021, when we were successful in securing a grant to cover core costs from the Postcode Lottery Neighbourhood. The £20,000 grant helped us avoid drastic cuts, protecting key services (training, low-cost film and equipment hire) for the community cinema sector. We are very grateful for the support of this funding, which came at a crucial time for the organisation.

We were also grateful for the £1,000 grant we received from the Arnold Clark Community Fund.

The last two years have seen a change for many in how we watch films and has cemented the place of streaming in our culture, both as exhibitors and producers. The widespread use of online communications hasn’t been an entirely negative move and much of our interaction with our members continues as an online conversation. The 2021 annual conference was again a virtual event (which you can read about in the education section of this report). Our members have continued to support and rely on us through a period of uncertainty, and we are all looking forward to meeting everyone face to face at the 2023 conference.

As always, Cinema For All remains committed to the vision and values set out in our memorandum of association:

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EDUCATION AND CULTURE

Cinema For All remains committed to enabling members and audiences to develop a lifelong relationship with film. The appetite for education and inspiration has never been more prevalent than during the challenging times of the past couple of years. The ability to understand how and why dominant values and representations exist has become increasingly important, with access to independent and global film giving us a platform from which to challenge and change dominant perspectives and embrace and understand diversity.

This year has seen the continued success of some of our long-standing Next Gen, Launchpad and Sustain initiatives. The Cinema For All Podcast concluded its fourth miniseries series in summer 2021. Cinema For All embraced things online, producing an online edition of the Community Cinema Conference and a virtual Film Society of the Year Awards ceremony, ensuring virtual connectivity with our members from our lounge to theirs.

COMMUNITY CINEMA CONFERENCE AND FILM SOCIETY OF THE YEAR AWARDS

Last November saw the second ever virtual conference and awards ceremony – an ambitious, completely online event which hosted 90 attendees engaging in our virtual and interactive programme of events using Zoom, YouTube and private screening links. We aimed to recreate the shape and spirit of the usual conference weekend through screenings, live panel discussions, pre-recorded talks and online networking.

Keeping members inspired, panel sessions centred on the hopeful stories and activities conducted by community cinemas during lockdown and preparing for opening the doors to the public again. The session chaired by Denyce Blackman (Caribbean Pop-Up Cinema and Cinema For All Trustee) explored stories, challenges and triumphs of groups that have tackled reopening. Michael and Monika of Cinema Nation looked at what the future might hold for the community cinema sector; and there was a session focusing on climate action and learning about practical steps for community cinemas to engage with environmental issues. Accessibility was another important theme with an insightful talk from our special guest, disability activist Nina Tame.

Our film programme featured seven carefully chosen films such as Sophie Dupuis’ Underground accompanied with a live Q&A with the filmmaker and The Story of Looking, followed by a conversation between the filmmaker Mark Cousins and Deborah Parker.

As usual, the 52nd Film Society of the Year Awards was a Conference highlight, celebrating the achievements of community cinemas across the UK over the past 12 months. The life and spirit of community cinema was felt in full force in a watch-along ceremony which did not leave a dry eye in the Zoom room. This year’s awards were presented by Chief Executive, Deborah Parker and our Chair, Dr. Gemma Bird. To reflect the time that we live in the awards presented new categories such as Best Audience Engagement, celebrating the wonderful work community cinema did to support audiences during the lockdown.

You can read about the winners in the Celebrating Success section of this report and view their applications on the Cinema For All website for further information.

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CINEMA FOR ALL PODCAST

The Cinema For All Podcast continued to support listeners on a journey of film discovery this year. The fourth mini season of two full episodes accompanied the full podcast portfolio which all together attracted 4,393 listeners from which 91% were impactful plays (which means that listeners listened at least 75% of the episode).

330 listeners engaged in a very special season four which was a celebration to going back to the cinema starting with the interview with John Magaro ( The Big Short, Carol First ), star of the Kelly Reichardt film Cow . John talked to us about working with Kelly, male friendships on the big screen and his excitement for getting back to the cinema.

Abi and Jaq also shared what they’d been watching at home, including Billy Liar, Personal Shopper, Mermaid s and

Nomadland , as well as a more in-depth chat about friendship on screen. The second episode looked behind-the–scenes at the history and making of movie trailers. Film trailer expert Professor Keith M Johnson told us about the history of film trailers, while Andrew Tighe from Intermission Film talked about what goes into making one! Abi and Jaq also caught up about what they’ve been watching including The Suicide Squad, Zola, Girlfriends and Buladó .

We are excited that we are now planning four special episodes to come. The podcast has been on hiatus recently since our excellent producer Jay Platt moved on to a new role in a different organisation. Without his technical expertise we have been unable to record and edit new episodes. However, with new staff coming on board over the past couple of months we are ready to get the podcast show back on the road!

TRAINING AND COACHING

Our training and coaching programmes have seen 241 total coaching sessions delivered across all schemes available. Our BFI funded coaching programme Next Gen has seen six groups supported, with screenings to follow.

The Launchpad programme has supported fifteen groups, including three groups run for and by people with additional access needs as part of the Access Launchpad strand.

This year has seen the continued success of our Sustain programme with members engaging with the Shine, Develop and Collaborate strands. Nine groups have utilised the Sustain Shine programme which enables members to reflect on their achievements and determine their future goals. We have enabled ten Sustain Develop projects and five Sustain Collaborate projects, some of which have allowed groups to keep audiences engaged during this prolonged period of cinema closure.

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ON THE GROUND

Our On the Ground Scotland event – ‘Raising your community cinema’s profile’ took place online on 27 February, with 19 attendees present. The event explored how community cinemas can spotlight what makes their cinemas unique, how they can celebrate their wins with their audience and top tips on boosting their engagement and audience. It featured a masterclass session led by Abi and Ellie from the Cinema For All team, along with an interactive panel discussion featuring three inspiring speakers from community cinemas in Scotland.

Cromarty Community Cinema, Cinetopia and Grassmarket Community Picturehouse all shared their experience and expertise around raising their cinemas profiles, and Film Hub Scotland also joined us to share upcoming opportunities with the rest of the attendees. Attendees also had exclusive access to a free preview screening of I am Belmaya – available from Cinema For All’s Booking Scheme via our Curate programme.

The event received an average rating of 4.5 (out of 5) stars and attendees shared positive feedback about the event, such as:

Our final On the Ground Scotland event run by Marie Archer of North East Arts Touring (NEAT) took place at the end of April and looked at how community cinemas in Scotland can pool their equipment/resources together to expand their cinemas’ offering and explore running outdoor or pop-up screenings.

‘Just a quick note to say thank you again for all your efforts in putting this together! These sessions have always been so engaging and valuable and it’s a real joy to attend - Sunday morning and all!’ Mariah , Little Wing Film Festival

‘It was a real delight to be part of the session and to share our story with the group. Really appreciate the invite and the opportunity to be part of these kinds of events…These kinds of events are fantastic to forge new connections and open up to different ideas.’

Susan Christie, Cromarty Community Cinema

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NEXT GEN

In 2021-22, six Next Gen groups were trained, from across the UK (Lincoln, Sheffield, Dunblane, London, Wolverhampton). All organisers were between 18-30 years old. We have also been checking in with last year’s cohort of Next Gen - Haringey World Cinema have gone from strength to strength, recently completing a sold out, special screening of Mustang to 50 people in their community. Box office from the screening were donated to a charity in Afghanistan honouring some of the issues explored in their pilot screening.

One of our 2021-22 Next Gen groups (still unnamed) led by young person Abiba Coulibaly, has recently been awarded an additional £3,000 from the Extra Nice Fund, which they will use to work with Lambeth Council on renovating a vacant unit in the unused railway arch at the train

station into a community cinema space for their film screenings. They will use any excess funding to pay for guest speakers to join them for their screenings and are planning for their first film to be The Last Black Man in San Francisco.

An interview with Abiba about their cinema can be found on the funders website:

https://www.itsnicethat.com/features/ extra-nice-fund-announcement-abiba-coulibaly-community-cinema-brixton-flm-220322

d/DEAF LAUNCHPAD/ ACCESS LAUNCHPAD

This year we supported two groups through Access Launchpad: Spectrum Film Club’s screening equipment has been installed in their venue and they have begun running their screenings, with their first few titles being Space Jam and Gravity. Their focus group, made up of community members experiencing autism, have taken over the planning of the cinemas programme, even providing bespoke introductions to the screenings. The film club have set up their own webpage as part of East Dunbartonshire Council’s website. Audience accessibility has been carefully considered and made the focus of this webpage with the group producing a downloadable Welcome Letter, Access Guide, Floor Plan and many more resources, as well as a video tour of the space for potential audience members to see what attending the screenings would be like.

Jack’s Lantern is a creative duo of horror fans and writers who are keen to explore their love of the horror film genre with audiences alike. The coaching participants identify as neurodiverse and the group are keen to ensure that this is considered in the

creation of their community cinema, from where their film screenings are held, to how they are run and marketed. Jack’s Lantern hope to run their pilot screening in the next couple of months and are hoping to screen a cult British horror film from the 80s.

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MilkTeo 19

Film societies and community cinemas from across the UK and beyond gathered online for the 52nd Film Society of the Year Awards, which took place on 13 September 2021 during the virtual Community Cinema Conference.

This year’s awards were presented by Cinema For All Chief Executive, Deborah Parker with Cinema For All Chair, Dr. Gemma Bird. The awards are the annual opportunity to celebrate the outstanding work of community cinemas, film societies and individuals serving their communities across the UK.

Cinema For All is very proud to continue the tradition of rewarding the hard work of those who spend their time bringing incredible films to people all over the UK. As in 2020, there has been some phenomenal work done by community cinemas: even though the projectors were powered down, the community spirit lived on. These groups and individuals are making a real difference to communities and to people’s lives. It is the community side of community cinema that has got many of us through difficult times and we were delighted to reward some exemplary volunteer conduct.

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CELEBRATING SUCCESS

This year the judges were an esteemed, diverse and independent panel including representatives from the BFI Film Academy and Film Audience Network, national Arts and Culture organisations, film distributors, universities and innovators.

The event was very generously supported by WRS Insurance and Fimbankmedia. Many thanks to them, and also to our core supporters the BFI, awarding funds from National Lottery, the Esmée Fairbairn Foundation, and the Postcode Lottery Neighbourhood Trust.

BEST AUDIENCE ENGAGEMENT

The business of being a community cinema didn’t stop when cinema doors closed back in March 2020. In this new category, the judges were keen to hear more about the community connections during lockdown. We were so delighted to hear about the stories in these applications which show the world what a special group of volunteers community cinema organisers are.

A great sense of care and thought has been put into engaging with this group’s regular audience, ensuring communication is carefully considered and delivered with a strong sense of empathy. The winning group has reached out to vulnerable members of the community and made the act of watching film accessible through a free ticketing scheme over lockdown. The same sense of care has been directed at their own volunteers and this messaging has been made clear in their social media output, marketing and outreach activity. They have shown such resilience during this time and have worked on developing their connections and audiences.

Little Wing Film Festival

Winner: LITTLE WING FILM FESTIVAL Commendations: UFP FILM CLUB

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BEST DIGITAL ENGAGEMENT

In this category the judges wanted to know how community cinemas stayed in touch with their audience during lockdown. What specific activity community cinemas created for their community and how they responded to it, and especially how they made sure that audience members who are less digitally inclined were supported to take part.

The winner in this category has shown much consideration for their community and audiences, starting off by discussing the concept of accessibility and ‘digital poverty’, sending out hardware and even internet dongles to ensure that their activity was accessible. The film programme was selected from free streaming sites (4OD, ITV etc) rather than the paid for alternatives (Netflix, Amazon etc). Content warnings were also issued ahead of each screening. They created a separate website to allow them to engage with this activity and they spent significant time developing their digital output which will help them in the future. This is an incredible piece of work that puts the welfare of their community and audiences first, considering and overcoming those barriers and supporting and caring for those within the community who may experience mental health conditions. Brilliant and uplifting work.

Winner: GRASSMARKET COMMUNITY PICTUREHOUSE Distinction: FILM EAST Commendations: EAST LOTHIAN LIBRARY SERVICE MANCHESTER AND SALFORD FILM SOCIETY

Grassmarket Community Picturehouse

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BEST FILM PROGRAMME

The judges were looking to see which films you managed to screen to your audience during lockdown, as well as what digital format you used to reach wide and diverse audiences. The judges were also looking for a programming style that shows intelligence, freshness and originality as well as a deep understanding of your community. How you measured the success of your choices, why you have chosen your films, and how your audience responded were also really important parts of the judging process.

The winning organisation is delivering a diverse programme to an underserved community, making up for the lack of film exhibition in the region. They managed to keep their film programme accessible, even delivering screenings with Q&A events - all this for free to remove any socio-economic barriers. The film programme includes archive, world cinema and indie cinema - an impressive range of films. They have managed to retain and build their audience and the feedback received is overwhelmingly positive and uplifting. This is a fantastic example of how to deliver a diverse programme online.

Other Cinemas

Winner: OTHER CINEMAS Distinction: LITTLE WING FILM FESTIVAL, WIMBLEDON FILM CLUB Commendations: T A P E COLLECTIVE, UFP FILM CLUB

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COMMUNITY AWARD

All film societies grow from, serve and are a vital part of their community. The judges saw some incredibly wide-ranging work from the shortlisted groups, where even political and cultural barriers have been challenged and broken down through the power of cinema. The judging panel were seeking the organisation that demonstrates the best community interaction and involvement. This means looking beyond the existing loyal audience and embracing the potential of interacting with other community groups in the area.

The winner of this award is putting the community at the heart of all of their activity, they did this through fundraising activity and distributing DVDs to those with little access to film, technology or the internet. The application is extremely concise, displays innovative and resilient thinking and action and presents some new ideas and ways of engaging with community groups.

Leigh Film

Winner: LEIGH FILM Distinction: THE GRASSMARKET COMMUNITY PICTUREHOUSE Commendations: GO TO THAMESMEAD TEXAS TRAVELLING CINEMA

GREEN AWARD

As the climate crisis continues, community cinemas have a responsibility to ensure their activities have a lower impact on the environment, and to make plans towards being sustainable. The judges were so heartened to hear about the nominees’ plans, as well as what has been enacted so far. There is much to do, but we are excited to introduce this brand new award to champion and highlight community cinemas’ commitment to tacking climate change and the inequality it brings.

The winning group put together an extremely uplifting and hopeful application, have given great thought to their future plans and strategies. Training staff, promoting transport plans and routes and creating a venue from scratch with a green ethos. Their efforts are outstanding and an inspiring case study for other community cinemas that are wanting to reduce their carbon footprint.

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Winner: LEIGH FILM Distinction: NO PLANET B FILM CLUB Commendations: WIMBLEDON FILM CLUB

Leigh Film

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THE PETER CARGIN AWARD FOR OUTSTANDING CONTRIBUTION MADE BY AN INDIVIDUAL

In honour of a huge supporter of Cinema For All, someone who has been with us as an organisation for many, many years and contributed so much, this award is named in honour of Peter Cargin, one of our Vice-Presidents. The power of community cinema comes from teamwork and supporting one another. Everyone’s perspective, skill and time contributes to the operation and success of the community cinema. Within these groups though exists a catalyst, a driving force of enthusiasm and insatiable commitment that energises both team members and audiences. The Outstanding Contribution by an Individual Award exists to give volunteers a chance to shine a light on the beacons that gleam brightly in their own organisations.

The nominee goes above and beyond the development of his organisation, he supports those that are vulnerable and encourages them to engage with film and the wider community as well as working in every department within the organisation. He is filling in for lack of provision for those with access requirements by supporting them in the attendance of public events and activities to get them to engage with the community.

Special Mentions: ROHAN CRICKMAR, GRASSMARKET COMMUNITY PICTUREHOUSE

Certificates awarded to: Shelby Cooke, Film East; Paul Costello, Leigh Film Mariah Matthew, Little Wing Film Festival, Johnjoe McFadden, Wimbledon Film Club

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THE ROEBUCK CUP

The Roebuck Cup is awarded to those remarkable individuals who may have been involved in the starting of many film societies, kept the ideal of Cinema For All going, or supported the movement in all sorts of ways, often over many years. It was donated by Charles Roebuck, a life-long cinema enthusiast and national officer of the British Federation of Film Societies.

Names have been engraved upon the Roebuck Cup since 1979 - individuals who have given that extra something and been an inspiration to the film society sector. This year’s awardee if a very special . person who truly embodies the concept of cinema for all

Katherine has been a member of the Cinema For All Board of Trustees for a decade. She has also been a key voice in the Scottish Group and an active member of the Edinburgh University Film Society in the past. Her dedication and passion for community cinema is clear to see and her hard work and support for both the organisation Cinema For All and the broader message of spreading cinema for all has been apparent over these many years. She has been a constant presence at events and at board meetings for the last ten years, as well as a support and friend to both trustees and staff. Her care and passion for community cinema means that she is the perfect person to join the names etched on the Roebuck Cup and someone that has made, and will continue to make, a large contribution to the movement.

Winner: KATHERINE SELLAR

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THE ENGHOLM PRIZE FOR FILM SOCIETY FILM OF THE YEAR

The Engholm Prize for Film Society of the Year - the highest award bestowed by Cinema For All. It is awarded to the group considered by the judges to be vigorous and dynamic in demonstrating the qualities outlined in the individual categories, showing matchless creativity, dedication to their audiences and the ability to overcome challenges.

This prize is awarded to a community cinema that takes all aspects of operation to new heights, forming their community cinema into a beautiful constellation. The winner of this award is community minded and audience orientated. This award doesn’t just recognise the group’s excellence, but its passionate and consistent pursuit of it. The winner is able to not just celebrate their success but recognise and triumph over their challenges. The group that wins this is a resplendent example of community cinema as a whole and galvanises screening groups and audiences alike.

The winning group has done an incredible job of operating and thriving in our current climate, they have found opportunities where there are barriers and continued to work with underrepresented members of the community to ensure their activity is inclusive and engaging. They have developed and championed emerging talent within their region and continued to nurture talent making their activity accessible by offering free training opportunities and creating safe spaces. What incredible work – and this is only the beginning.

Winner: OTHER CINEMAS Special mention: GRASSMARKET COMMUNITY PICTUREHOUSE

Other Cinemas

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ENVIRONMENTAL SUSTAINABILITY 29

ENVIRONMENTAL SUSTAINABILITY

Back in 2019/20 we completed an assessment of our energy consumption and travel footprint to assess our overall carbon emissions, the results of which were summarised in the 2019/20 annual report.

The setting of reduction targets was deferred due to the uncertainty created by the COVID-19 pandemic, but we will be setting these in 2022/23 as a more normal pattern of in office/ hybrid working and in-person activity is resumed.

Our Sheffield office had shut in March 2020 and remained closed throughout 2020/21 reopening partially from summer 2021, with most staff returning to a hybrid model of some at home and some in office working between September and December 2021. More frequent in office working restarted in February 2022.

Once again very little travel was being undertaken during the year and all Board meetings and events remained online throughout 2021/22. Taking all this into consideration our carbon footprint during 2021/22 was 386.3kg CO2e, or carbon dioxide equivalent. CO2e is a standard unit for measuring carbon footprints. Using CO2e helps illustrate the impact of all gases as a single number. The idea is to express the impact of each different greenhouse gas in terms of the amount of CO2 that would create the same amount of warming. The specific data we have for travel and energy consumption is shown below.

ACTION PLAN

In 2019/20 we had developed an action plan across the business to identify areas for improvement. Areas such as reducing waste at the annual conference and collecting data on office waste and recycling, were put on hold due to the COVID-19 pandemic and will start up again in 2022/23.

However, other items were able to be carried out such as developing our coaching programmes to include awareness of green issues throughout and adding climate action to our Board and SMT agendas. We launched a new Green Award at the Film Society of the Year Awards in 2021, won by Leigh Film with an inspiring application showing how much thought they had put into their future plans: training staff; promoting local transport plans and routes; and creating a brand new venue with a green ethos, providing an inspiring case study for other community cinemas wanting to reduce their carbon footprint. No Planet B Film Club and Wimbledon Film Club were

also Green Award nominees. We are excited to see what applications we get for this award in 2022. Along with the new award, we also held a successful workshop on Climate Action at the 2021 Community Cinema Conference, about which we received excellent feedback and saw a significant interest among groups to see more work being done in this area.

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TRAVEL 21-22

Car journeys – Two staff travelled from Sheffield to Harrogate return – 58 miles twice = 116 miles. Train travel – Manchester to Sheffield return 3 times.

Energy use – We continue to occupy office space in the shared working space the Workstation where the energy supplied is SSE Green 100% renewable energy.

This report will also highlight some of the steps we have taken to implement and expand our action plan, as well as grow awareness of the climate emergency within the sector.

SECTOR SKILLS AND ADVOCACY

We believe that it is of crucial importance to support groups to operate in a more environmentally efficient and sustainable way. In 2021 we took part in some training with Manchester Metropolitan University to build our capability in this area, assess which of our services we could improve in terms of carbon footprint, what those changes might be and how we might go about this, as well as what other services we could develop to support the sector in achieving greater climate impact. In 2022/23 we are going to continue this work, which will include working with the Carbon Literacy Project on some exciting developments for the sector.

Watch this space!

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DIVERSITY, EQUITY AND INCLUSION REPORT

Cinema For All is committed to equality, diversity, inclusion and more importantly, equity and justice, in regards to our own organisation and the wider community cinema network we support, develop and represent. This report outlines our actions in 2021-22 to address inequalities and inequities that exist within our industry, what our successes have been and what areas we still need to work on.

In June 2020, Cinema For All made a statement addressing the Black Lives Matter movement, and made commitments to being better allies to our Black members, Black community cinema organisers and Black audiences. Cinema For All reaffirms here in our 2021-22 Annual Report that we recognise racism, inequity, inequality and bias within the film industry at large and within film exhibition specifically. We are addressing this by being an actively anti-racist organisation and challenging bias wherever we see it, in whatever form.

https://cinemaforall.org.uk/black-lives-matter/

Since that statement we have made a number of changes at governance level, untaken training and increased access to opportunities, coaching and start-up bursaries for Black people and people of colour to address the inequity within our organisation and the sector we represent.

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However, there are also areas in which we have made much less progress than we have liked – we have been unsuccessful in ensuring Black, Asian and Minority Ethnic people are properly represented in our workforce, and plan to address this in 2022-23.

Here we will outline what we have done, and what we plan to do in the next year.

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We recognise there is still work to do – particularly in increasing the diversity of our operations team. In 2021-22, no new team members joined Cinema For All, however we are committed to increasing the diversity of our small workforce.

We currently have a blind recruitment process to help eliminate unconscious bias in recruitment. However, we recognise that whilst this system may increase equality, it does not deliver in terms of equity. We will be seeking support and consultation in 2022-23 to improve this process and ensure new recruitment drives reaches and encourages candidates from diverse backgrounds.

This is the first time we have written about equality, diversity and inclusion in our annual report, but we commit to this being part of all our annual reports going forward. We welcome feedback and comments, as we do for the whole report, and we will continue to listen, learn, and work on self-education.

Cables and Cameras

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HEAR FROM THE TEAM 35

JAQ CHELL, HEAD OF PROGRAMME AND BUSINESS DEVELOPMENT

ELLIE RAGDALE, COMMUNITY IMPACT OFFICER

SARAH WILLIAMSON OPERATIONS COORDINATOR

Throughout this year, it has been wonderful to see community cinemas re-open their doors and once again begin to share the magic of cinema with their neighbours. I have loved to see each new programme published and each film booked. A special moment for me was when we were finally able to return to the Sheffield office and right away our phones began to ring. We had missed chatting with you in this way!

I know how deeply many community cinemas organisers longed for restrictions to be lifted so that they could start back up again, but I do not know of one group out of over a thousand who rushed into things without first deeply considering the safety and access needs of their audience members. I am so incredibly proud to work with volunteer cinema organisers, as the care, empathy and love for their audience is unmatched.

It has been really special to reconnect with Haringey Global Cinema, hear how their community cinema is going, learn about their latest screenings and, through the Sustain Develop programme, support their upcoming event Borderless Bodies. A celebration of what it means to be Cypriot and LGBTQIA+, featuring Turkish and Greek Cypriot short films, spoken-word, live music as well as a zine containing poetry, essays, art and photography.

We have supported young volunteer Elise from the beginning of their community cinema journey, with our Next Gen programme (which they took part in during 2020). Despite the pandemic and lockdowns Elise has persevered, establishing the community cinema with great support from the local community too, a real testament to Elise’s hard work and passion!

While it was sometimes challenging to look after the equipment hire scheme due to temporarily reduction in staffing levels, I feel like this gave me a broader understanding of the organisation at large.

Seeing groups come through as members and then begin to plan their first screenings through to equipment hire was really rewarding and enabled me to see the process through in greater detail, and gave me valuable experience.

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ABI STANDISH SECTOR DEVELOPMENT OFFICER

LUCIE KORDACOVA OFFICE AND OPERATIONS MANAGER

PAT GREENHOUGH OPERATIONS AND MARKETING COORDINATOR

2021- 2022 was an incredibly challenging year for everyone. I’m proud that we were able to stay connected with our members and community cinema volunteers throughout this time. We worked together during uncertainty and adjustment to rebuild and connect with one another.

When I reflect further on a highlight from this year, the Launchpad cohort in September 2021 comes to mind. It was the first time we could run our Launchpad coaching programme in quite some time, and it was unclear about what it might be like. Meeting new people and supporting them to develop their fantastic cinemas was an uplifting experience. It reminded me of the power of community cinema, working together and the plethora of ways we can connect with one another. It felt like spring. I feel so grateful for what I learned from everyone involved.

Lucie has joined Cinema For All as our Office and Operations Manager in June 2022.

Prior to this, Lucie was the Operations Manager at South London Gallery, where she looked after the front of house team and gallery buildings. Lucie had been volunteering and programming films at Deptford Cinema in London.

Pat has joined the Cinema For All team as our Marketing and Operations Coordinator in May 2022 having just finished his postgraduate studies in Film Exhibition and Curation.

Pat has previously worked in numerous roles at The Showroom Cinema, as well as at festivals such as Celluloid Screams and Cornwall Film Festival.

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CHIEF EXECUTIVE REPORT

It finally seems that life is returning to some semblance of normality after another challenging year, and it has been incredibly encouraging to see how many groups have begun screening again, and how many people have flocked back to community cinemas up and down the country.

Once again, our team has demonstrated their complete commitment to the community cinema sector showing huge determination to ensure groups have the support they need to get back on track in challenging times. It has been wonderful to see enquiries picking up with our team dealing with almost 400 enquiries over the year.

Our coaching programmes have gone from strength to strength as well, supporting over 50 groups from Dunblane to London, Lincoln to Wolverhampton. It’s been great to see film bookings picking up again too, with Limbo, Minari and I Never Cry proving popular. It was also pleasing to see such a positive response to the introduction of our new Green Award at the Film Society of the Year Awards, and our Climate Action workshop at the Community Cinema Conference. Hear more about what we have been up to in this area in our Environmental Report.

It’s been so pleasing to see more and more groups reopening and see the knock on effect of that on the take up of our services. Though still not at pre-pandemic levels, our earned income is heading in the right direction with membership and the booking scheme now around two thirds of 2019 levels.

As well as delivering successfully on our BFI and EFF funded programmes, we also achieved grant success, securing support from the Postcode Neighbourhood Trust and Arnold Clark, and saw our consultancy services grow further. Of course, there have been challenges too: take up of our second online conference was lower than we had hoped, as online fatigue became a real issue and we postponed our young person conference for similar reasons, hoping to return to in-person events in 2022/23.

We were also sad to see a much-valued member of the team, Jay Platt, leave to take on the challenge of a new career, and our Chair, Dr. Gemma Bird step down after several years as a trustee; we will miss them both greatly. We also welcomed new trustee Andrew Ormston to the role of Chair and another new trustee, Ben Johnson joined the Board in 2021, both of whom have been great additions to the team.

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I would also like to thank our funders and sponsors for continuing to support us, especially EFF for allowing such flexibility in our funding that allowed us to spend some time looking at our staff pay structure, and terms and conditions following a difficult period of recruitment. I am also delighted that we were able to introduce new salary bands to give staff more clarity on remuneration and bring our salaries more in line with market expectations, which is key to retaining and rewarding our great team.

In May 2022 I will celebrate a personal milestone: I will have worked for Cinema For All for ten years, the longest I have worked anywhere - it has been an incredible, if at times a bit of a rollercoaster ride! Some highlights from those years include: adopting Cinema For All as our new name and seeing what an impact that, and our refreshed identity, had; shifting our focus to being much more proactive in helping set up new groups with our amazing coaching programmes; surpassing the £1 million mark in funds raised for Cinema For All’s work; collaborating with the Yorkshire, North East and North West Film Archives on the Born a Rebel archive short film and its amazing premiere at the Community Cinema Conference that year and taking part in the Vote 100 – Women’s Right to Vote celebrations across the North of England, and of course seeing a much greater diversity of winners at the Film Society of the Year Awards, have all been incredible experiences.

We closed 21/22 by successfully recruiting two new members of the Cinema For All team, Pat Greenhough who joins us as our Marketing and Operations Coordinator and Lucie Kordacova, who will be our new Office and Operations Manager. Both will be joining us in spring 2022 and I can’t wait for you to meet them!

Deborah Parker, Chief Executive

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GOVERNANCE 40

GOVERNANCE REVIEW

It has been a challenging year for the Board of Cinema For All. We have welcomed new Board members with fresh ideas and different areas of experience and expertise. We have also seen the departure of our Chair, Gemma Bird, and our recently appointed Vice-Chair, Paul Hewlett. We have also introduced some changes in how the Board functions with shorter mid-week meetings, a regular online catch up for staff and trustees, and the formation of specific Board/ senior management working groups. Changes to help address some of the issues that were raised in the external review that took place in 2020.

The pandemic has meant we are in the peculiar position of some Board members not having met their colleagues, or the staff team face-to-face. Much of the reward for trustees giving of their time and expertise on a voluntary basis is the pleasure of working as part of a team, and a completely virtual experience only delivers some of that.

We have much to be grateful for relating to online communications, but we are all looking forward to coming together in Sheffield for a September awayday, where we can get to know each other and discuss issues in the depth they deserve. Board members have already flagged major topics like our identity and position in the sector, and how we support our membership to help people engage with film in such economically challenged times.

Perhaps the most pressing governance issue is our desire to expand the Board and recruit new members, particularly people from our member organisations. Here is where you can help us by considering if you, or someone you know, might be interested in joining our Board. Our membership is a diverse one, comprising many types of organisations from all around the UK. We need goverance that reflects this and that can speak out for the interests of people from every part of the community cinema family.

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PUBLIC BENEFIT 42

The charitable objects of Cinema For All are:

•To advance the education of and to encourage the interest of the public in film as an art and as a medium for information, education and social enlightenment; and •To promote the study and appreciation of film

Specifically, Cinema For All acts to benefit the public in the following ways:

UNIQUE RANGE AND REACH

Cinema For All is the only national agency working exclusively on behalf of community cinema. Our knowledge of the breadth and depth of the sector, along with our history of support, enables us to nurture its great variety. The activities of Cinema For All cover the whole country, encouraging and supporting members of the public to engage in community film exhibition across the UK. As a member organisation, Cinema For All speaks for and advocates on behalf of the sector on the national cultural stage. We work across the UK to provide local, hands-on advice to community film exhibitors.

EDUCATION AND TRAINING

Cinema For All’s activities benefit the public by providing opportunities to see a wider range of films, to develop an interest in film as an art form, become better informed and educated about film, and to appreciate different cultures and viewpoints. Our annual conference for community cinema is a unique national event providing valuable opportunities to network and share best practice on a peer-to-peer level, as well as previewing forthcoming titles. We held this online again in 2021, but aim to return to an in person event in 2022. Our training and coaching programmes provide valuable support, learning and development opportunities for those currently running volunteer-led film societies and community cinemas and those who wish to start.

INFORMATION AND ADVICE

This service covers all aspects of film exhibition, from setting up a community cinema, choosing and hiring equipment, film recommendations, licences and film availability. Personal bespoke advice is given by email. A full range of downloadable digital resources, as well as a comprehensive community cinema start up pack are available from the website. Cinema For All also distributes its monthly Newsreel magazine to over 2,000 email addresses from across the film, voluntary and arts sectors and produces a popular podcast series.

MEMBERSHIP

Cinema For All provides a range of affordable membership categories for organisations, from our free Affiliate membership, to Associate and Full Membership. We offer a reduced price membership for groups in their first and second years with the same level of access to all our amazing services and benefits.

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REPRESENTATION

Cinema For All uses the data it holds on the sector to make informed responses to various public consultations to advocate for its membership. In 2021/22 to help represent the sector’s interests, Cinema For All took part in the BFI consultation to inform their 2023/33 strategy. The Cinema For All board also includes elected trustees who have a particular role in representing members’ needs on the board and who can be contacted directly with any concerns members may have.

SUPPORTING DISADVANTAGED COMMUNITIES

Cinema For All works for the public benefit through project work targeting specific social groups that may be disadvantaged in terms of their access to film culture and the broader range of films available.

REGIONAL ACTIVITY

Properly constituted Cinema For All regional networks hold film viewing sessions and training days and the regional representatives form an integral part of Cinema For All. Film societies and community cinemas play a vital role in bringing film to rural and remote communities. In addition, our On the Ground project aims to create sustainable networks in areas of the UK without formal Cinema For All Regional Groups.

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LEGAL AND ADMINISTRATIVE INFORMATION 45

STATUS

Cinema For All is the trading name of the British Federation of Film Societies which

was incorporated as a company and as a charity on 27 September 1978. The British Federation of Film Societies is a company limited by guarantee and has no share capital. The liability of the members is limited. The trustees of the charity are also the directors of the company.

Throughout this document, Cinema For All will be used when referring to the British Federation of Film Societies.

The financial statements found on pages 56 to 71 comply with current statutory requirements, the Memorandum and Articles of Association and the Statement of Recommended Practice: the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) for the Accounting and Reporting by Charities.

ANNUAL GENERAL MEETING 2022 The Trustees have agreed that the 2022 Annual General Meeting should be held in person and will take place at the Community Cinema Conference on Sunday 6 November 2022.

Company Number: 01391200 Charity Number: 276633

REGISTERED OFFICE

Unit 411, The Workstation 15 Paternoster Row Sheffield South Yorkshire S1 2BX

INDEPENDENT EXAMINER Philip Allsop FCA BHP LLP Chartered Accountants 57-59 Saltergate Chesterfield S40 1UL

BANKERS Lloyds Bank 802 Oxford St Swansea SA1 3AF

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DIRECTORS AND TRUSTEES

Andrew Ormston CHAIR

Benjamin Johnson VICE-CHAIR

Graham Hill TREASURER

Denyce Blackman SECRETARY

Rico Johnson-Sinclair BOARD MEMBER

Elizabeth Costello BOARD MEMBER

Rui Jin BOARD MEMBER

Paula Stott BOARD MEMBER

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BOARD OF TRUSTEES 2021/22

Andrew Ormston (Appointed July 2021) (Elected Chair November 2021) Paul Hewlett (Appointed July 2021) (Resigned April 2022) Graham Hill (Treasurer) Denyce Blackman (Secretary) (Resigned August 2022) Rico Johnson Sinclair Elizabeth Costello Benjamin Johnson (Appointed February 2022/ elected vice-Chair July 2022) Gemma Bird (Chair) (Resigned November 2021) Rebecca Ellis (Resigned November 2021)

Sukayna Najmudin (Re-elected September 2020) (Vice-Chair) (Resigned August 2021) Jane Mehta (Resigned July 2021) Katherine Sellar (Resigned July 2021) Paula Stott (Elected August 2022) Rui Jin (Elected August 2022)

We would like to express our gratitude for the contribution of all those who have served as trustees. At the time of the 2022 Annual General Meeting, there will be no elected trustee vacancies.

TRUSTEES’ RESPONSIBILITIES STATEMENT - CHARITABLE COMPANY

The trustees (who are also directors of Cinema For All for the purposes of company law) are responsible for preparing the Trustees’ Annual Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the trustees to prepare financial statements for each financial year. Under company law the trustees must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the charitable company and of the incoming resources and application of resources, including the income and expenditure, of the charitable company for that period. In preparing these financial statements, the trustees are required to:

  1. select suitable accounting policies and then apply them consistently;

  2. observe the methods and principles in the Charities SORP 2019 (FRS 102);

  3. make judgements and estimates that are reasonable and prudent;

  4. state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements;

  5. prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in operation.

The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

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WORKING GROUPS

The Board of Trustees organises working groups, which can include trustees, staff members and volunteers, with specific skills as required from time to time. These groups will be focussed on particular projects, or strategic issues that require resolving. The Board also allocates overseeing responsibilities to individual trustees, again, as may be required, though this does not change the collective responsibility of the Board. Trustee lead roles include HR, Risk, Safeguarding and Board-Staff Liaison.

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PATRONS AND THE HONORARY COUNCIL

Cinema For All has three patrons: film director, Ken Loach, film producer, Mark Herbert and writer and broadcaster, Danny Leigh. We are very grateful to them for agreeing to lend their names to our organisation. They help to raise the profile of Cinema For All with the media and general public, thereby helping to promote the community cinema sector.

Derek Malcolm is President of Cinema For All and is joined in our Honorary Council by Vice-Presidents, Marjorie Ainsworth, who celebrated her 100th birthday in January 2022, Donna Anton, Peter Cargin, Brian Clay and David Miller.

The Board has the power to appoint any individual to be the President, or Vice-President. People in these roles are not trustees, but have a similar role to our Patrons. However, they may be more hands on and their appointment has professional credibility and relevance within the area of Cinema For All’s core activity, thus enhancing its profile with other organisations involved with film exhibition.

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Happy Birthday card for Marjorie Ainsworth’s birthday

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RISK MANAGEMENT AND SERIOUS INCIDENTS Oocx)oooG) *•• 52

RISK MANAGEMENT AND SERIOUS INCIDENTS

RISK MANAGEMENT

COVID-19

Trustees are responsible for overseeing the risks faced by Cinema For All. Detailed considerations of risk are delegated to the Chief Executive Officer. Risks are identified, assessed and controls established throughout the year. A review of the charity’s risk management process is undertaken on a regular basis and managed under a variety of headings. Under the heading of risk management, we also include a Safeguarding Policy which specifically relates to working with vulnerable people. The Board has a specific lead for Risk and Safeguarding and the risk register and any resulting issues are discussed at each Board meeting.

SERIOUS INCIDENTS

No serious incidents, as defined by The Charity Commission, have occurred, or been notified in the year 2021/22.

The risks from COVID-19 have not gone away and Cinema For All continues to take steps to help minimise risk and safeguard public health. All decisions about our operations and our event programmes are taken in line with current guidance and public health advice. Cinema For All has put in place robust and agile plans to support the wellbeing of its staff, members and volunteers, and the wider communities that it serves.

Cinema For All has continued to provide advice and support to members throughout the COVID-19 pandemic. We have now adopted a hybrid working model with staff returning to the office on a part time basis, while continuing some working from home.

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POLICIES 54

POLICIES

INVESTMENT POLICY

Under the Memorandum and Articles of Association the charity has the power to invest in any way the trustees see fit provided no form of permanent trading is undertaken.

RESERVES POLICY

Cinema For All funds current activities and longer term developments from grants and donations received, and from its earned income. In order to mitigate against any unforeseen expenditure, or fall in income, Cinema For All aims to maintain its free reserves (net unrestricted current assets) at a level equivalent to six months’ expenditure on unrestricted activities. We had aimed to reduce reserves to £100k (from £164,215 - Note 18) to cover 6 months’ expenditure. However, with the energy and cost of living increases, as well as uncertainty over future funding from the BFI and EFF, we will be delaying our plans to reduce reserves until the situation stabilises and future funding becomes clearer. This policy will be reviewed and monitored regularly in the light of the changing financial climate and other risks.

GRANT MAKING POLICY

Under the Memorandum and Articles of Association the Charity is able to make grants, or contribute towards the funds of community cinemas as it sees fit.

EQUAL OPPORTUNITIES POLICY

Cinema For All strives to be an equal opportunities employer and aims to ensure that individuals are recruited, promoted and treated on the basis of their relevant merits and ability to do the job in question. Specifically, our policies ensure that no member of staff, volunteer, or job applicant receives less favourable treatment on the grounds of gender, marital status, colour, race, nationality or ethnic origin, disability, age, sexual orientation, religious or political belief, trade union activity, physical appearance or HIV-status. Cinema For All regularly reviews its recruiting procedures

and makes certain improvements to ensure that its equal opportunities policy can be fully delivered.

SICKNESS, ABSENCE MANAGEMENT AND WELLBEING POLICY

This policy has been developed to ensure a consistent and fair approach is taken in the management of sickness and other absence across Cinema For All and outlines the options available to ensure staff are fully supported and their wellbeing taken into account while minimising the impact of absence and sick leave on the delivery of our services.

SAFEGUARDING POLICY

As Cinema For All increased its work supporting disabled groups, marginalised and disadvantaged communities to screen films, our Safeguarding Policy outlines our approach to working with vulnerable groups. This approach takes a lead from our specialist partners to ensure people’s wellbeing is promoted, and their wishes, feelings, views and beliefs taken into account, as well as taking all practicable steps to prevent the risk of abuse, or neglect. All board members and operational staff carry out safeguarding training and we continue to have designated safeguarding leads at both operations and board level.

SAFER SPACES POLICY

This policy ensures everyone attending our events is made to feel welcome and supported. This informs and shapes all our events and activities. Cinema For All also has a Code of Conduct, an Anti-Bullying Policy, as well as written policies relating to data protection and management, and complaints. All available on request.

In connection with data protection, Cinema For All complied with the General Data Protection Regulation (GDPR) (EU) 2016/679) that came into effect on 25 May 2018.

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Approved by order of the members of the board of Trustees and signed on their behalf by:

Name: Andrew Ormston Date: 21/09/2022

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FINANCIAL REPORT 57

FINANCIAL REVIEW OF THE YEAR

2022 was a year of rebuilding revenue streams, but the year still suffered the lasting effects of the Covid pandemic. The charity sector has been through a period of drastic upheaval. It has seen huge digital acceleration, shifts in working models, streamlined operations, the arrival of new tech, the optimisation of old tech, and much more – all in the past two years.

The contribution that charities make to our communities and to wider society has been undeniable in the last two years. But, having battled through the pandemic, many charities are now taking stock and asking hard questions about what they need to do to rebuild their finances and reset their relationships. As we come out of the pandemic, we see the start of the new financial year for 2022/23 in the UK entering another period of uncertainty, with the cost of living crisis, increasing inflation and the difficulty in attracting and recruiting new people continuing. Despite the above, Cinema For All remains robust and still has the ability to deliver its objectives and ongoing projects. Reviewing the financial year, we see that Grant funding increased very marginally from the previous year £215,092 (2021 £212,942). Subscriptions, increased from their 2021 levels to £23,378 (2021 £19,629) with revenue from trading operations increasing as well to £25,447 (2021 £15,096) the overall revenue was at £271,824 (2021 £262,658)

Expenditure has dropped to £248,370 (2021 £273,050), mostly due to difficulties in recruiting for key roles; with expenditure continuing on those projects undertaken in the year and completing those carried over from 2021. The notes to the accounts identify which projects were undertaken during the year.

Total funds carried forward increased to £212,756 (2021, £189,302). As we await a new strategic plan from a major funder, the BFI and anticipate their new funding streams, we will assess our resilience to the coming market conditions, and as a result will be delaying our plan to reduce reserves in line with the current reserves policy, which the Board of Trustees will review on an ongoing basis.

For Cinema For All, income was an ever-present challenge even before COVID-19 and achieving financial sustainability remains a key issue. At the same time as bolstering or rebuilding the reserves, we need to rightly decide if we invest in the infrastructure, digital and otherwise, in order to ensure we are fit for the future.

Generally, Charities will need to invest in resilience measures such as good governance and leadership, digital transformation, and staff development. Many changes will have been made in response to the pandemic, and we need to take stock of what measures will make the biggest difference over the long term.

In the recent Charities Aid Foundation Charity Landscape 2022 report, in the recommendations for the future it was noted, Charities should talk to funders about the value of resilience as a core theme and stress their needs change how they operate in the aftermath of the crisis. Charities need to spend time examining how the fundraising landscape has changed and how the rise of digital fundraising will affect them.

As I said last year, the future, whilst still uncertain, is bright. The need to return to cost effective leisure activities and get back out, meeting and engaging with our fellow humans, is still much needed. Therefore, the team and Board of Trustees, will continue to ensure the charity remains well managed and financially viable as we navigate turbulent times. Graham Hill, Treasurer

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INDEPENDENT EXAMINER’S REPORT

I report to the charity trustees on my examination of the accounts of the company for the year ended 31 March 2022 which are set out on pages 60 to 71.

RESPONSIBILITIES AND BASIS OF THE REPORT

As the charity trustees of the company (and also its directors for the purposes of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (‘the 2006 Act’).

Having satisfied myself that the accounts of the company are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of your company’s accounts as carried out under section 145 of the Charities Act 2011 (‘the 2011 Act’). In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.

INDEPENDENT EXAMINER’S STATEMENT

Since the company’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of the ICAEW which is one of the listed bodies.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

Philip Allsop FCA BHP LLP Chartered Accountants 57-59 Saltergate Chesterfield Derbyshire S40 1UL

Date: 28/9/2022 Signature:

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STATEMENT OF FINANCIALACTIVITIES 60

STATEMENT OF FINANCIAL ACTIVITIES For the year ending 31 March 2022.

The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.

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BALANCE SHEET

The company’s financial statements have been prepared in accordance with the provisions applicable to companies subject to the small companies regime. The Trustees consider that the Charity is entitled to exemption from the requirement to have an audit under the provisions of section 477 of the Companies Act 2006 (“the Act”) and members have not required the Charity to obtain an audit for the year in question in accordance with section 476 of the Act.

The Trustees acknowledge their responsibilities for complying with the requirements of the Companies Act 2006 with respect to accounting records and the preparation of financial statements.

These financial statements were approved by the Board and signed on its behalf by:

Signature: Date: 5 September 2022

Andrew Ormston, Chair, Cinema For All Board of Trustees

The notes on pages 63 to 71 form an integral part of these financial statements. Company registration number: 01391200

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NOTES TO THE FINANCIAL STATEMENT

1. Accounting policies

1.1 Basis of preparation of financial statements The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland issued in October 2019, the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland (FRS 102), the Charities Act 2011, the Companies Act 2006 and UK Generally Accepted Accounting Practice.

Cinema For All meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy.

The financial statements are prepared in sterling, which is the functional currency of the charity and rounded to the nearest £.

General funds are unrestricted funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of the Charity and which have not been designated for other purposes.

Restricted funds are funds which are to be used in accordance with specific restrictions imposed by donors or which have been raised by the Charity for particular purposes. The costs of raising and administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in the notes to the financial statements.

1.3 Going concern

The Board has again considered the impact and legacy of the COVID-19 pandemic on the charity’s income and operating costs. The sector has started to recover and both membership income and income from the majority of services has been increasing to levels around 75% of those reached in 2019/20. Our main funder, the BFI, will launch a new funding structure in autumn 2022 and our EFF funding comes to an end in April 2023. We are keeping a close eye on developments and are in regular dialogue with both funders. Cinema For All’s Fundraising and Income Generation Working Group are working on a new fundraising plan to mitigate against any negative effects of funding gaps.

The Board has prepared forecasts of income and expenditure for the period to 31 March 2024 and subjected these forecasts to sensitivity analysis which shows that they have sufficient reserves to be able to continue for the foreseeable future. They will continue to monitor the impact on income on a monthly basis and at board meetings, and take appropriate action as necessary. The Board therefore continues to adopt the going concern basis of preparation for these financial statements.

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1.4 Income

All income is recognised once the Charity has entitlement to the income, it is probable that the income will be received and the amount of income receivable can be measured reliably. Income relating to the Coronavirus Job Retention Scheme is recognized in the period for which the funding is claimed.

1.5 Expenditure

Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is classified by activity.

All resources expended are inclusive of irrecoverable VAT.

1.6 Tangible fixed assets and depreciation

Depreciation is provided at rates calculated to write off the cost less residual value of each asset over its expected useful life, as follows:

Projectors, Lenses and Films (Non Project Related) 2 years Projectors, Lenses and Films (Project Related) Life of project Office Furniture and Equipment (Non Project Related) 1 year Office Furniture and Equipment (Project Related) Life of project

1.7 Interest receivable

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the Charity; this is normally upon notification of the interest paid or payable by the Bank.

1.8 Debtors

Trade and other debtors are recognised at the settlement amount after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

1.9 Cash at bank and in hand

Cash at bank and in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

1.10 Liabilities and provisions

Liabilities are recognised when there is an obligation at the Balance Sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably. Liabilities are recognised at the amount that the Charity anticipates it will pay to settle the debt or the amount it has received as advanced payments for the goods or services it must provide. Provisions are measured at the best estimate of the amounts required to settle the obligation.

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1.11 Financial instruments

The Charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value with the exception of bank loans which are subsequently measured at amortised cost using the effective interest method.

1.12 Pensions

The Charity operates a defined contribution pension scheme and the pension charge represents the amounts payable by the Charity to the fund in respect of the year

1.13 Critical accounting estimates and areas of judgement

Estimates and judgments are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances.

Critical accounting estimates and assumptions:

The charity makes estimates and assumptions concerning the future. The resulting accounting estimates and assumptions will, by definition, seldom equal the related actual results. There are no estimates and assumptions that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next financial year.

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2022 20X UnresirLed-unas Genva donatsiTrs 976 4,752 976 2022 2021 Lknrostr¢¢odfvnds EFF COVID Rel4yiTrt Sheffidd CtyCounci1 COVID RekfGr•nt CLytk Lottery Giant 14.000 10.000 1.000 Rèstn¢ttrJ BFI Auéience Fund Ewee Fttiib•i.-D Pwt¢od¢ Lw.t¢ry Ne%hkwdwd TrtA¢ 1rt•rrtlvhs￿r1 Fh 159.992 28.000 20.000 159.442 28.ooo 1.500 Others- ReyAI Screen SroElJnd, BFI FAN Major 6.100 T¢tsl 215.092 212,942 2022 2021 Uniestn<ted fuTrd5 F Imbarkmd WRS In5Lrance MU81 Oth¢rs 1250 500 2,IOC¢ 50D 80D 6Q ijoo 3,050 2022 2021 Uniutncted furAs 23.378 19.629 23,378 19,6 knMrn•from ¢h•rit•bl• funds ok1￿ Sch•Y.$4esoF$￿¥ DVOs,¥qwMrt hre anegrcupMewi￿Sesslo￿fees 2022 2021 25A47 15.096 Tot•1 Y4A47 15,096 2022 20J Un¢￿t￿tted funds 17 Totsl 38 h•r 2022 2021 COVID-19JobfieteAtion sC￿r￿￿ SWGroup 4051 813 6.741 ,741 66

10 Cknt•W• •¢Iv￿￿ 2022 Totsl 803 13.557 2.746 2021 ToLoI 720 21,938 1,553 1.558 243,054 2.794 Unr•¥tri¢t•d R•stri¢t UnresrrKt¢d Re5tri¢wd T20 Re￿reh11￿ftrmiIIlf kh•rn• 803 13.5S7 2.746 21.938 1.553 Evenrs Insurance Operations Re8￿r￿ald￿￿l0Prnent lsvpp(rt 1.691 1¢)0204 2.430 1.558 186.402 2,744 36.745 226.949 2A30 56.652 50 53.048 195,128 248.176 80 193 191,424 2n.617 11 Otherexpendlture 2022 Total 194 2021 Total 1.433 Unrestrlcltd 86 R•strkted Unrestricted 920 Restricted 513 Net Incomellexpendlturel This is stated after chargin8'. 2022 2021 Independent examifierfs remuneratlon 2.010 2022 1021 Numberof IFfEI employee5 ¥t ye¥r ef employee r¢¢¢l¥ed remuneration amountlnito more than £60.1￿ elth¢f year. The trusteesdo not rt¢elve rèmunratloTr.12021- nlll The toia1 amouni of expenses received by trusiees was £nll due to all me￿n￿ MO￿￿4 onllne. However, E86 wa5 spent on ¢rustee tr4inin8.12021'. nil, 8 tfU5tees1. The total amount df remuneratloh ￿¢￿ed by kty man•8ement persofifiel was £90,77312021-. £101,349). The ¢har Considers Its kty mana8oment pèrsonnel to be Deborah Parke¢ Ichief ExeeutivÈ Officer). Jat4Lllne ChÈll (Head of ProRrarnme and Bus1r￿ 0￿elOpMentI and Jay Platt Iolllce and Operatlons MaTho8erl, thou8h Jay Platt left ihe ￿lan{Sa￿On durln8 thls financlal year. 2022 2021 Wy4nd ￿lariS NatTronal Insvr4n¢o p￿S1on5 n5265 35,473 7.807 131.128 38.318 8,008 Totsl 158.545 177.454 67

T•wW•ftt•d •swts Pr•i•¢tian •ww•rt Fixtur•s. fittiw •f •qyprn•nt Tot•1 Cost At l April 2021 159,479 4,043 163.522 17,686 177.165 4,043 181208 AdditN)ns At 31 March 2022 17,686 DeVeC￿1jan At l Apnl 2021 char￿ for the ￿r 31 Mirch 2022 149.558 5,351 154.909 17,686 167244 5.351 1r2.595 17,686 Net bookvabJe At 31 March 2022 8.613 9.921 8.613 9,921 At 31 March 20X 15 D•btws 2022 2021 Tr•8edebtor5 10.527 4.103 Totsl 10.527 4.103 16 CrnditorJ: f4llin8du• within on• > 2022 2021 Trade cfdrttsrs Accrualsand dekrred incom• Other creditors .560 4,126 360 13,543 1,079 Total 26,046 68

17 knalys15 of net Osets betw•en fvnds Unrestrlrted RestrScted Total Current year Tangible fixed a55etS Current assets Credftors.. amounts falllng due wlthln one 8,613 39.928 8,613 190.261 126.0461 126.0461 164.215 48.541 212,756 Unrestricted Restrirted Total Prioryear Tangible fix￿ assets Current assets Credr(ors.' amounts falling due within one year 9,921 19,764 9,921 I94,￿3 114,6221 174.239 114,6221 159.617 29,685 189,302 18 Unre51wlcl•dfund5 l April 2021 If￿0me Expendlture Trartsfers 31 Ma￿h 2022 Other unrestrltted General unrestricted fvnds 159,617 159,617 57,732 57,732 153.1341 153,1341 164.215 164,215 I WI 2021 8FI Strateglc P￿fiers F￿d èFIAuditncÈ Fund BFI LCNÈ Athin EFF Posicode Neighbryjrhoad Tw FIlmbank￿lIa Wekcffje Btyck Fund Sheffield Crty Cour¢ll kntermiwon Film Equlpftnt 3.505 1È.29S J.505 24,757 159,992 120,OC)) 116tsS61 3A44 1750) 11.5 266 1,417 734 761 L417 %rv65Vrte IOD BFI Nelghbowhood Onema nal Screen Scotlard A nema NÈar You Fundir8 BFI FllmAudience Nets Maiw Season5 Project FuThJir 761 2,20) ResillttÈd fuThJs 29,685 114AVJZ ID53361 45.541 69

Purpose of restricted funds:

BFI: British Film Institute Strategic Partners - NGO responsible for film and film culture in the UK. Now defunct scheme that supported film exhibition activity for organisations delivering support for BFI Film Forever and BFI Film Audience Network (FAN) priorities.

BFI: British Film Institute Audience Fund- replaced the BFI Strategic Partners funding in Oct 2017 to fund organisations delivering against BFI priorities.

BFI Love: This was the major season run in 2015 for which we received some funding from BFI FAN. See more about BFI FAN below. This pot covered our admin costs of running the programme in 2015/16.

EFF: the Esmée Fairbairn Foundation is a large grant making foundation which funds our Operations and Office Manager role and part funds our Head of Programme and Business Development position. Though Restricted, EFF permitted us to class these funds as Unrestricted in 2020/21 due to the COVID-19 pandemic.

Postcode Neighbourhood Trust: the Postcode Neighbourhood Trust supports smaller charities and good causes in the north of England to make a difference to their community for the benefit of people and planet. We were awarded £20,000 to support core costs.

Filmbankmedia: Filmbankmedia is one of the largest non theatrical film distributors in the UK and a regular sponsor of Cinema For All events. They have made available bursaries to support community cinema groups to reopen in 2021/22 and 22/23 in the wake of the COVID-19 pandemic. The funds are distributed by Cinema For All.

Sheffield City Council: Sheffield’s local authority, who made available screening bursaries for groups in the city to take part in a local film premiere.

Intermission Film: are an award-winning creative agency specialising in making film trailers. We worked with them to create the Intermission Film First Day Back Fund which provides start-up costs to cover the first screening a community cinema puts on following the lifting of lockdown regulations. Cinema For All manages these bursaries.

Octagon Films: a film society based in Leicestershire, funding a Pay it Forward Scheme in Leicestershire that provides match funding for the BBFC funded Launchpad Hothouse project.

Equipment: funding to purchase equipment and replacement parts.

BBFC: The British Board of Film Classification - the national body responsible for film classification and certification in the UK. They funded a Launchpad Hothouse project in South Yorkshire for training young people.

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WVCGS/Vote 100: Government funding in 2018 from the Government Equalities Office to celebrate 100 years of some women gaining the vote. This funded the production of a short archive film and special celebratory events around the North of England during 2018.

BFI Neighbourhood Cinema: funding to take over and run the BFI Neighbourhood Cinema website which has now been subsumed by / redesigned as the MyCommunityCinema website.

Regional Screen Scotland (RSS): A Cinema Near You is a Creative Scotland/ Screen Scotland funded project run by RSS which we are involved in supporting training. Regional Screen Scotland is a non-profit organisation working to support independent film exhibition across Scotland.

BFI Film Audience Network (BFI FAN) Major Seasons Project Funding: the BFI FAN is a national network of regional funders supporting film exhibition activity across the UK and is an initiative of the BFI. Major Season project funding supports activity promoting various film seasons. In 2015 this was called Love, in 2020/21 this was intended to be Japan. However, the COVID-19 pandemic halted this activity. Though some Japan season work took place in the South West Group, the national campaign was halted by the funder allowing us to retain the funds.

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2021122 Highlights Inloodn•mal¢RII￿rguk ,acln•maloAII WW4¥xIMmalornlI.oD&￿ OIM 2210314 Cinema For All 15 the national support and development or anisation for volunteer le cinema in the UK. We have been helping communities to brin film to audiences where t ey live since Launchpad, Sustain, Next Gen, Collaborate 51 Cro￿ Jll Schem 8roups o! people train n Sustsin Shine rain Next. 241 10 8TQUPS of'peooe trun Sustain D￿elop. loup& af rain tsn Co delivere laborare 1946. 15 grryups OF y-iople trnin £rTJUPS of peopk iriin tsn LaL¢nchpau on A£Ge5s LJunrhpThid £4,650 I￿￿1.dL1d tn coatliing bursJrie¥ to Juprort screenill85 ond projp¢ Cinema For All Services e training and coachin8 during the Sustain Where are our Members Develop pr￿raMme has helped ihe Thamesmead based ? Tr4velling C¢nerna advance to the next lèvel of operation. Th15 h3$ enabled u5 to confidently train Young People to operate the c1￿ma thfoueh OLtr Vdunteer pro8ramme. thu5 also making US felevant to the I￿￿1 community we Serve. The programm¢ ha5 introduced us to the world of tommunity cinema and hès iven us thè confidence to develop and run our own. Tham•sm•d T•x•s Trèv1li￿ Cinem 393 41 9uefies answered 145 London Northern Ireland 1,535 rnember5 308 North 165 254 Midlands The Cinema For All Booking Scheme Social Media Scotland 339 South East 228 The Mo51 Popylar Booking Schemefitles: bookingscheme 1) Limbo title& screened to 2) Rocks 38,621 85 IwilL" prrihlp'i 198 Wales South West 10,315 3) M. people 4) l Never Cry tUEr Equipment Hire Scheme 62 Cinema For All Awards ovents w*rn su throu pwied h theEqLrlpM￿t eme THE ENGHOLM PRIZE FOR FILM SOCIETY FILM OF THE YEAR: Oihtr Cin¢m•s Roebuck Cup winner: Kath•rine Sellar Best Digital Engagement: GrassmJrket Community Pictur•hous• Best Film Programmtr. Other Cinemas &uditsnCVS ￿ached Best Audience En Little Win£ Film Green Award: CornmunityAward: L•i£h Film Ltieh Film The Peter Cargin Award For Outstandin Contributi+)n Made B An In mar eementr. estiyal FORMLL

ACKNOWLEDGEMENTS

The Trustees extend their sincere thanks to the professional staff and volunteers who make up Cinema For All’s national and regional operations, whose passion and dedication to the community cinema movement has enabled the consolidation, continued growth and development of Cinema For All.

Cinema For All would also like to thank our funders, whose generous contributions mean we are able to continue to support community cinema throughout the UK, and with their permission give a special mention to the following individuals, film societies and community cinemas who generously donated to us during 2021/22. Thank all those who have so kindly donated so far.

Freyja Gillard; Joanne S. Brown, Generation Arts; Leigh Film; Marion Hewitt ; Movies at Chaddesley ; Richard Clesham; Steve Parry; Thamesmead Travelling Texas Cinema.

All images throughout the report are owned by Cinema For All with the following exceptions – thanks to: Haringey Global Cinema, MilkTea, Little Wing Film Festival, Grassmarket Community Picturehouse, Other Cinemas, Leigh Film, Rohan Crickmar, Katrerine Sellar, Cables and Cameras.

This report was produced by the Cinema For All staff and Board of Trustees. Illustrations on the front cover and titles pages are by Thoughts Make Things (aka Studio Binky).

Photographs and quotations are used with permission.

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