We Are UK Film at Cannes Goes Online. Forgets to Tell The Accredited Press

As the majority of Brits stayed at home for the 74th edition of Cannes, so does We Are UK Film… technically. In reality, it ‘went online’ and forgot to let accredited press know about it.

A couple of hundred words sponsored article can be found on ScreenDaily announcing the move. Other than that, the accredited press have received no communication from the UK Film who is set to champion British Filmmaking in Cannes.

Talent talks featuring directors Mark Cousins and Eva Husson, and producers Kat Mansoor, Elizabeth Karlsen and Tracy O’Riordan all feature in We Are UK Film’s online programme of industry sessions running during this year’s Cannes Film Festival (July 6-17).

No British Union Jack is flying at the Riviera village this year due to “challenges around travel”.

“We Are UK Film will be a virtual UK pavilion presence in Cannes this year owing to challenges around travel during the pandemic,”says the ScreenDaily press release. “Set up and funded by the BFI with partners including British Council, the national and regional screen agencies and the British Film Commision (BFC), the initiative represents the UK Film industry at key international festivals and markets.”

This year’s programme also includes panels on deals and contracts ( hosted by Screen International), the Global Screen Fund, sustainability, bullying and harassment, and how to break into the industry.

The sessions are open to everyone (not just those with festival/market accreditation) and will be accessible at weareukfilm.com/talks.

Neil Peplow, BFI director of industry and international affairs, commented: “We are looking forward to an exciting Cannes for the UK industry with nine films in the official selection, our new UK Global Screen Fund supporting sales companies with films premiering in the festival and a partnership with the Cannes Producers Network providing opportunities for UK producers to make new connections.”

Excited Mr. Peplow might be, the decision not to keep accredited press in the loop – contact details of whom are easily accessible – might prove to be a very costly one for British Filmmaking.