CLASSIC FAMILY TITLES IN 4DX: MOANA, PADDINGTON & HARRY POTTER
ONE-DAY EVENT TO BE HELD ACROSS ALL 4DX CINEMAS NATIONWIDEĀ
Get ready for a family adventure like no other! Cineworld is excited to launch its first-ever 4DX Family Day on Sunday 18 May at all 34 Cineworld 4DX screens nationwide ā with tickets available now for just Ā£4/ā¬4Ā (online, including booking fee).Ā
Available only at Cineworld, 4DX is a thrilling multisensory experience, featuring motion-synchronised seats, gusts of wind, sprays of water, aromatic scents, bubbles, fog and strobe lighting, bringing every scene to life in the comfort of your seat. For one day only, families across the UK and Ireland can dive into some of the most beloved family classics in an entirely new way.
Film line-up for 4DX Family Day:
Moana (2016) ā 10:00amĀ
Paddington (2014) ā 12:30pmĀ
Harry Potter and the Philosopherās Stone (2001) ā 2:45pmĀ
For the first time ever, Moana and Paddington will be brought to life in 4DX ā with ocean sprays, tilting seats and sea breezes pulling you into Moanaās voyage, and bursts of air, playful splashes and sweet peach aromas capturing Paddingtonās every marmalade mishap. Plus, the magic of Harry Potter and the Philosopherās Stone will sweep through the auditorium with swirling winds, rumbling seats and spellbinding effects like fog, bubbles and snow.
Adding even more magic to the day, participating cinemas will also host a range of family-friendly activities in the foyer, including bubble-blowing fun and temporary 4DX tattoo stations ā perfect for young adventurers. All adults must be accompanied by a child ā young explorers lead the way!
Casey Cohen, VP of International Marketing at Cineworld, said: “We are thrilled to launch our first-ever 4DX Family Day, where seats move, oceans splash, and marmalade mischief fills the air.
“4DX is hands down, the most fun you can have as a family in a cinema ā like a multisensory rollercoaster ride, but with popcorn.
“On Sunday, May 18th, experience Moana, Paddington, and Harry Potter like never before, in 4DX. Get ready for the ride of your life ā you’re welcome!”
Tickets for 4DX Family Day are available now via theCineworld websiteand Cineworld app.
Leading film education charity, Into Film, has today announced this yearās Into Film Awards nominees including three nominations for filmmakers and filmmaking teams based in Scotland.
Nominated for the Time forAction Award (Sponsored by Swatch) are 8 young people aged 16-19 from CITADEL YOUTH CENTRE, Leithfor the film Can we talk about Mental Health.
The filmmakers are Holly Watson (18), Nyah Sallan (16), Sophie Hunter Little (16), Brian Hainey (17), Levi Bennet (18), Ellie Pullar (18), Joshua Moohan (19), Jack Fyffe (18).
This call to action film utilises many different kinds of animation to highlight not only the mental health struggles that many young people face, but to also address the systemic difficulties that exist in trying to access support. In the young people’s own voices this is a direct plea asking all of us, from teachers to government ministers, to do better.
Nominated for the Best Film – 16-19 (Sponsored by Warner Bros. Discovery) are 9 filmmakers aged 17-19 from West Pilton’s SCREEN EDUCATION EDINBURGH for the film Come Inside.
The filmmakers are Aaron McCrossan (19), Allair Ayeni (18), Ben Emmel (18) CJ Reeder (17), Emma White (18), Jasmine Mooney (17), Kirk Kerrane (18), Lili Quigley (19) and Albie Kerlaff (17).
In this deeply affecting drama, a young woman named Mia tries her best to take her of ailing father, who is suffering from early-onset dementia, his memory and mental faculties diminishing by the day.
Nominated for Best Story (Sponsored by Amazon MGM Studios) is 14 year old Edward Ryan from Sanquhar, Dumfries and Galloway for the film More Than One Way to Go Home.
Inspired by the filmmaker’s own personal experiences, this film follows a young autistic girl, who has to find her own way home when her brother leaves her to fend for herself. A well shot film that conveys some of the difficulties that autistic people might experience. Nominees in this category were selected from among all of the films submitted to this year’s Into Film Awards, across all categories
The Awards, sponsored by the UK film industry, celebrate young peopleās creativity in film, showcasing and highlighting the wealth of tomorrowās creative talent.Ā
Young people from across the UK whose short films have been nominated across the Awards categories will be recognised at a glitzy afternoon ceremony, which has previously been attended by some of the biggest stars in the industry including Daniel Craig, Lashana Lynch, Eddie Redmayne, Lily James, Luke Evans, Gemma Arterton, Charles Dance, Ruth Wilson, Bill Nighy, Simon Pegg, Martin Freeman and Naomie Harris.
This yearās nominated films cover a wide range of compelling and timely subjects for young people including mental health, the war in Ukraine, gender identity, neurodivergence, multiculturism, the potential harms of AI, feeling disconnected and isolated in modern society, nature conservation, immigration and identity, looking after an unwell parent, the need to stop scrolling on social media, and much more.
The nominees have been recognised across 11 awards categories in different age groups and the winners will be announced and presented with their awards by stars of the film and entertainment industry at the afternoon ceremony at Odeon Luxe, Leicester Square, on June 24 in London.
The award ceremony will be hosted by BAFTA Breakthrough Brit, BAFTA TV winner, actor, presenter and author Rose Ayling-Ellis MBE.
This yearās Into Film Awards received an unprecedented number of film entries from children and young people across the UK. Into Film believes that every child should be given the chance to learn hands-on filmmaking skills and be able to tell their own stories in film, which is the central aim of its Young Creatives programme, supported by the BFI awarding National Lottery Good Cause funding.
14 year old Edward Ryan has said: āIām over the moon to have been nominated, I feel very happy that my film has been chosen for the Best Story category.
“It makes it feel like all the hard work has been worth it. Filmmaking is important to me because I enjoy it and it allows me to express myself in ways I was unable to before.ā
17 year old Albie Kerlaff, part of theScreen Education Edinburgh filmmaking team, said: āIām extremely excited that Come Inside has been selected ā there arenāt enough opportunities like the Into Film Awards, so being part of this feels very special.
“I felt like Scorsese for a minute… then spilled my drink on my T-shirt, which brought me back down a bit! Films, to me, are a little like sandboxes where I can explore and play with emotions. Both watching and making films have been a constant way for me to process my feelings since I was small, and I hope they always will be.ā
Lesley Williamson of Citadel Youth Centrehas said: āWe are thrilled to be nominated for this award. This is a great achievement for the young people involved.
“This film speaks from the young peopleās hearts and is very open, honest and raw. All the young people involved have never had the opportunity to create a film before, and the fact they chose this outlet to discuss their mental health and the (lack of) support offered to them regarding their mental health says a lot about the film making process and how it can bring people together.
“This film discusses the mental health crisis, support available for young people and how they are made to feel regarding government funding allocation. At a time where third sector organisations are facing substantial cuts to their funding (we personally have faced a 72% funding cut from Edinburgh Council), this film was organically created by the young people expressing their views and how this impacts them.
“This topic is important to the young filmmakers as it speaks about issues that are close to them and is an honest representation of how they have been made to feel.
“All the young film makers involved are from homes that face low income, poverty, areas of deprivation and struggles with their mental health so this is a true representation of how young people are impacted by socio-economic differences.ā
Actor, Presenter, author and host of this yearās awards Rose Ayling-Ellis MBE has said: āI am really honoured to be the 2025 Into Film Awards host and I am so impressed with the creativity and brilliance of all the young people involved.
“The standard of the nominated films is extraordinarily high and just shows how important it is to give young people a voice through filmmaking.ā
Rose is a BAFTA Breakthrough Brit and a BAFTA TV winner, and she recently won an RTS and a Broadcast award for her work as the first deaf presenter of live sport hosted at the 2024 Paralympics; her stage debut in As You Like it was has been nominated for a Laurence Olivier Award and won the Stage Debut Award and she is the recipient of the Visionary Honours for Inspirational Person of the Year.
This year alone has already seen her front her second documentary for the BBC, release her first childrenās book Marvellous Messages and appear in critically acclaimed BBC drama Reunion. Next, she will next guest star in an episode of Dr Who and lead ITV drama Code of Silence on 18th May.
THE NOMINEES ARE:
Best Animation – 5-11 (Sponsored by Walt Disney Studios Motion Pictures, UK)
Cae yr Arth (Cae the Bear)
Made by a class of 30 young people aged 9-10 from Caedraw Primary School – Merthyr Tydfil, Wales
Feeling disillusioned by life in a bustling city, a kindly bear stumbles upon a rare piece of nature, and decides to try and help it flourish. But despite his best efforts, the big city may not be the right environment…
Offline Virus
Made by Dulcie-Bella, aged 11 – Banbury, England
Animated in a striking Japanese-influenced manga style, this vibrant music video shows a social media-obsessed girl losing all of her colour and vitality as she spends too much time online.
The Wellington Cobbler and Wrekin Giant
Made by 23 young people aged 8-11 from the film club at Meadows Primary School and Nursery – Ketley, England
Visible from their own film club window, this stop motion animation depicts the myth of how The Wrekin, a famous hill in Shropshire, was supposedly formed, by way of a clever shoe repairman and a fiendish giant…
Best Animation – 12-19 (Sponsored by Walt Disney Studios Motion Pictures, UK)
And Then What?
Made by Evie, aged 18 – Croydon, England
Created with animation software Blender, this short 3D animation is a cautionary tale about pervasive social media and the risk of jumping to conclusions, as two friends discuss a classic case of crossed wires.
Animated Voices
Made by 10 young people aged 13-14 working with Gritty Realism Productions – Cardiff, Wales
Made by young people living in Cardiff that hail from ethnic minority backgrounds, this animation sees them exploring their personal experiences of life in the UK, in their own words, and using their own animation.
Mouse House
Made by Katie, aged 16, from Pate’s Grammar School – Cheltenham, England
In this charming stop motion animation for all ages, a family of mice set out for a local allotment in search of food, only to return home and find that one of their number has been left behind to fend for himself. Will he ever make it back home to the Mouse House?
Best Documentary (Sponsored by IMDb)
The Freedom of the Sea
Made by Rosie, age 17, from Varndean College – Brighton, England
Having emigrated in the wake of the Iranian revolution in the 1970s, one family – now long-settled in Brighton – discuss the difficult decision to leave their home, and the way being able to swim in the sea together is a perfect encapsulation of the freedom they found in the UK.
Kicking through Transition
Made by Indy, aged 15 – Woking, England
A teenager named Indy reminisces about his decision to come out as trans, and how that decision went on to affect his passion for playing football and his love of the beautiful game.
Mariupol
Made by Daria Savchenko, aged 18, from Gower College – Swansea, Wales
This affecting documentary sees one woman recounting her harrowing experiences in Mariupol, Ukraine, as the Russian invasion unexpectedly turned her life upside down. And though she’s now settled in Swansea, Wales, her testimony demonstrates the extreme and enduring trauma that many survivors continue to face.
Time for Action (Sponsored by Swatch)
Can we talk about Mental Health
Made by 8 young people aged 16-19 from Citadel Youth Centre – Edinburgh, Scotland
This call to action utilises many different kinds of animation to highlight not only the mental health struggles that many young people face, but to also address the systemic difficulties that exist in trying to access support. In the young people’s own voices this is a direct plea asking all of us, from teachers to government ministers, to do better.
Severn Wild
Made by 18 young people aged 16-19 working with MediaActive Projects and BFI Film Academy – Wem, England
This lyrical film is an impassioned plea to protect our country’s rivers, using beautiful animation, historical materials, and a poetic script to detail the far-reaching and catastrophic effects that humanity and civilisation have had on the River Severn, but also highlighting hopeful plans to restore the river and return it to a more natural state.
Tipping Point
Made by Araminta, aged 16 – Conwy, Wales
A short film that nevertheless packs a mighty punch, this is a stark wake-up call for anyone who’s ever found themselves spending hours mindlessly scrolling on their phone; a film with a vital message, urging and reminding us all to live our lives to the fullest.
Best Film – 5-11 (Sponsored by Working Title Films)
Ballet d’Or
Made by Fletcher, aged 11, and Jude, aged 9 – Newcastle, England
Eight year old Frankie finds himself caught between two passions when he contemplates quitting ballet to focus on football, until he makes a surprising discovery about his football coach that changes everything.
S.I. – Superficial Intelligence
Made by 20 young people aged 10-11 from Burnham Market Primary School – Burnham Market, England
Worried by the amount of homework they’ve been given, two children build their own deep thinking artificial intelligence robot named S.I. to complete all their homework for them. However, the more S.I. learns, the more out of control it seems to become…
Ynyr yr Ysbryd (Ynyr the Ghost)
Made by Briall (aged 10), Celt (10), Elai (9) and Fflur (10), from Clwb Ffilm Dyffryn Nantlle – Penygroes, Wales
When a young boy named Ynyr wakes up as a ghost, he finds that the experience isn’t as fun as he might have imagined. And when he’s interviewed for the local news channel about his lonely new existence, he draws the attention of the Council of Ghosts… can they help him find his place?
Best Film – 12-15 (Sponsored by Paramount Pictures)
Daydreaming
Made by 24 young people aged 11-14 from Sawston Village College – Cambridge, England
Seemingly caught daydreaming in their classes, we see the inner thoughts of three pupils. Between a meeting with artist Frida Kahlo, an encounter with Isaac Newton, and even a trip back in time to the Battle of Hastings, it’s clear that vacant looks and blank faces in the classroom may not always be telling the whole story!
Superhero School
Made by 11 young people aged 12-13 from Park School – Belfast, Northern Ireland
In a school for superheroes, the rivalry between Speedy and Quicklight usually ends with Speedy in front. However, that all changes when Quicklight steals Speedy’s superpowered trainers. Can the class of colourful heroes band together to help Speedy regain his powers?
Vacation
Made by Indi, aged 15 – Waterlooville, England
Bored out of his mind, a teenage boy finds himself captivated by a mysterious new video game. As he becomes increasingly hooked, he finds that eating, hygiene, and all other aspects of life simply fade away, until a concerned neighbour finally comes to check on him. But not all is as it seems…
Best Film – 16-19 (Sponsored by Warner Bros. Discovery)
Beware the Zoomies: An Unsolved Mystery
Made by Araminta, Cole, Micah, and Ethan – Conwy, Wales
In this pitch-perfect and very funny documentary pastiche, one poor girl’s unfortunate case of ‘the zoomies’ is explored by a doctor, her two long-suffering friends, and the uncontrollably energetic victim herself.
Come Inside
Made by 9 filmmakers aged 17-19 from Screen Education Edinburgh – Edinburgh, Scotland
In this deeply affecting drama, a young woman named Mia tries her best to take her of ailing father, who is suffering from early-onset dementia, his memory and mental faculties diminishing by the day.
No Dice
Made by Grace Holt, aged 19, from Wales High School – Sheffield, England
Four people of a certain age embark on an epic fantasy adventure by virtue of a role playing board game in this hilarious comedy that makes great use of special effects, and shows that there’s no age limit on having fun.
Best Story (Sponsored by Amazon MGM Studios)
Nominees in this category were selected from among all of the films submitted to this year’s Into Film Awards, across all categories
Deadlines
Made by Ben Melocha, aged 19 – Leicester, England
As the work piles up, a put-upon office worker lashes out and discovers something sinister and unsettling about her office computer. This smart, David Cronenberg-inspired horror taps into modern insecurities around AI and the replaceability of humans in the face of ever-advancing machines, as well as commenting on the faceless, sterile nature of some corporate jobs, and the mental health struggles that can arise when the pressures of work become overwhelming.
More Than One Way to Go Home
Made by Edward, aged 14 – Sanquhar, Scotland
Inspired by the filmmaker’s own personal experiences, this film follows a young autistic girl, who has to find her own way home when her brother leaves her to fend for herself. A well shot film that conveys some of the difficulties that autistic people can face, and demonstrates how the right support can be key to overcoming those challenges.
Tragicake
Made by a group of 10 young people aged 18-19 from the BFI Film Academy – Holywood, Northern Ireland
On her 18th birthday, a girl sets out to bake the perfect birthday cake. However, a past baking misadventure hangs heavy on her shoulders and comes back to haunt her in unexpected ways. Can she overcome her baking demons? It is a funny, smartly made film with a lovely story about perseverance and putting past mistakes behind us.
Ones To Watch (Sponsored by EON Productions)
The following are our chosen 2025 Ones to Watch
Dinah Naitamu, aged 18 – London, England
Dinah is a director, writer and actor who is currently attending the London Screen Academy. Her biggest goal is to increase opportunities for underrepresented groups, both in front of and behind the camera, and tell stories that are often excluded from the mainstream.
In 20 years, she wants to be halfway to EGOT status (winning an Emmy, a Grammy, an Oscar, and a Tony award), and working with the likes of Zendaya, Quinta Brunson and Ayo Edebiri.
Indi, aged 15 – Waterlooville, England
Indi is one of only two people to receive multiple nominations at this year’s Into Film Awards. He was also nominated at last year’s Into Film Awards for his film film Saving Yourself (and the World), which went on to be nominated for several other film festival awards, including the Horsham Film Festival.
Indi is a prolific filmmaker who has already created two horror films and a short production for his Film Studies GCSE this year, as well helping a local drama group create and edit a series of short films.
This year he plans to enter more film festivals, including Brighton Rocks, and aspires to one day have a film shortlisted by the Sundance Film Festival.
Michael Smith, aged 18 – Newton Aycliffe, England
Michael started making films at just 8-years-old, and by 16 his first feature film, documentary Streets of Steel: The History Of Witton Park, was screened at Witton Park Village Hall in January 2024.
The positive response he received from the local community underlined how important and successful his commitment to unearthing hidden histories has proved. Continuing in this vein, Michael has recently been commissioned by Teescraft Engineering and councillors from Durham County Council to create a documentary on the Stockton and Darlington Railway to celebrate its 200th anniversary in 2025.
This dedication to working with and in his local community is also apparent in Michael’s work with Kynren (an outdoor theatre event) and the Hardwick Live music festival. Michael has also volunteered as a videographer for Bishop Auckland FC for the past 5 years, filming matches and conducting post-match interviews.
Filmmaking Champions (Sponsored by Lucasfilm Ltd.)
The following are all Into Film Awards 2025 Filmmaking Champions
Dale Forder from St Luke’s CE Primary School – Northampton, England Dale has been supporting young people’s filmmaking since 2021. He started working on film projects during the COVID lockdown, when working with youth theatre groups and needing to find alternate ways for them to be creative without directly working in large groups, as well as a way to demonstrate their progress to parents.
Dale now runs an extra-curricular film club at St Luke’s CE Primary School in Northampton. The club is available to children across years 1-6, with the older children often helping the younger ones, helping them learn responsibilities and the importance of helping others.
Dale strives to give the young people as much creative freedom as possible and encourages them to only create films that help tackle topical issues of importance to young people. Previous films include You Are Enough, a film about exam stress and secondary school anxiety; Dyslexia & Me, a documentary/drama hybrid exploring children’s understanding of dyslexia (which won Best Film – 11 and Under at the 2024 Into Film Awards); and their most recent project, Navigating The Net, which is about internet and computer safety.
Steve Swindon from TAPE Community Music and Film – Llandudno, Wales Steve runs TAPE Community Music and Film, a community arts charity in North Wales that he started 17 years ago, where filmmaking is a cornerstone of their work.
A lot of TAPE’s recent work has been with young people at Ysgol Y Gogarth, an additional learning needs school in Llandudno. Working with 16-19 year olds with a wide range of additional needs, Steve strives to be a creative advocate for the ideas and ambitions of the young people he works with.
He is committed to creative inclusion and encouraging new ways of working, giving as many people as possible the opportunity to have their ambitions and ideas heard and explored through film.
St. Colmcille’s Primary School – Crossgar, Northern Ireland Based in a small, rural community, where young people face a number of challenges, and limited access to opportunities and the arts, St. Colmcille’s has gone above and beyond in using film to broaden the horizons of its pupils and open up a world of possibilities.
In February 2022 the school began a cross-circular project focused on the use of film. Departments across the school worked together to provide pupils with a range of transferable film-based skills, weaving filmmaking into normal lessons, and ultimately seeing each class create their own films.
Now, each year they host a glitzy premiere evening, complete with red carpet, a limousine, photo booth, āpaparazzi’ and popcorn, giving the young filmmakers and the wider community – a unique and unforgettable experience.
A packed programme of music, film and storytelling kicks off Edinburgh Tradfest next weekend (2 May to 12 May) thanks to continued support from The National Lottery through Creative Scotland and the William Grant Foundation.
The Festival opens with Terra Kin supporting celebrated piper Ross Ainslie and the Sanctuary Band (Greg Lawson, Paul Towndrow, Steve Byrnes, Hamish Napier, James Lindsay, John Blease),who have featured on Rossās last four albums including Pool released in 2024.
Terra Kin aka Hannah Findlay has been a dynamic force in Glasgowās jazz, folk and pop scenes for many years, and for this yearās opening they will be joined by master musicians and rising stars: Su-a-Lee (cello), Roo Geddes (violin) Emma Pantel (violin) and Sarah Hanniffy (viola).
This opening night concert at the Queens Hall in Edinburgh kick starts an incredible 11 days of traditional and traditional-inspired music taking place at The Traverse Theatre in Edinburgh, and other film and storytelling events happening across the City.
Other opening weekend highlights include Leveret, made up of some of the finest tunesmiths in modern folk music (Andy Cutting on melodeon, Sam Sweeney on fiddle, and Rob Harbron on English concertina); and the rich darkly-toned fiddle sounds of Lauren MacCollwho is joined by Rachel Newton (harp), Anna Massie (guitar), Mhairi Hall (piano), Mairearad Green (accordion) and James Lindsay on (bass) to play tunes from her most recent album Haar, along with a delve into her back catalogue.
This yearās festival commission on Monday night is For the Love of Trees featuring new tunes and old, by Mary Macmaster (The Poozies) and Donald Hay. Including The Cedar, Silent, a new piece about the tallest tree in Edinburghās Botanic Gardens that was felled by Storm Ćowyn earlier this year, The Trees by rock band Pulp, and Chraobh nan Ubhal a traditional Gaelic waulking song.
Joining them will be super group of Scottish traditional musicians: Amy MacDougall (vocals, sampling), Mairearad Green (accordion, pipes, vocals), Pete Harvey (cello) and Ciaran Ryan (banjo/fiddle/guitar); andspecial guest Fiona Soe Paing who will open the concert with a selection of her electro alt-folk sounds.
Other hot tickets include: The Traveling Janes; BBC Scotlandās Young Trad Winner Ellie Beaton; Seckou Keita dubbed the āHendrix of the koraā; Virginiaās finest string band The Hot Seats; piping legends the Finlay Macdonald Band; national treasures the Siobhan Miller Band; and singer, broadcaster and cultural ambassador Joy Dunlop who is this yearās Rebellious Truth guest. She will be sharing her story on 11 May, from when she first learnt Gaelic at school in Oban, to reading the weather on the BBC.
Plus, on Saturday 3 May, folk musicians playing at any level, can take part in #WorldPlayAStrathspeyDay by uploading a strathspey tune online using the hashtag, or by joining fiddlers, Anna Robertson, Catriona Price, Adam Sutherland and pianist extraordinaire Rory Matheson for a live afternoon of Scottish music to celebrate the beauty of the humble Strathspey. Alternatively, there is also the traditional May Day Parade which sets off down the Royal Mile at mid-day and finishes with a rally, music and speeches.
Fans of traditional storytelling can enjoy events at the Scottish Storytelling Centre including an introduction to Gaelic storytelling with the University of Edinburghās first Gaelic Writer in Residence Martin MacIntyre; storytelling from the Highlands and islands with Bea Fergusonand Heather Yule; and stories and songs told in the North-East Bothy Tradition by Phyll McBain, Jackie Ross, and ballad singer Allan Taylor, accompanied by fiddler Karin Paterson. In addition,storyteller Inez Alvarez Villa of TuFlamenco presents a tribute toFederico Garcia Lorca, Spainās most iconic poet told through poetry and flamenco dance.
For film-goers there is this yearās Folk Film Gatherinā – a fantastic programme of world film which includes a whole day dedicated to the late Douglas Eadie on Sunday, 11 May. This tribute includes screenings of docudrama An Ceasnachadh ā An Interrogation of a Highland Lass starring a young Kathleen MacInnes, Ian MacRae and Dolina MacLennan.
The film tells the legendary story about the band of students who took the Stone of Destiny from Westminster Abbey on Christmas morning 1950. National treasure Kathleen MacInnes, fresh from starring in the acclaimed production of Macbeth in Londonās West End, will also perform her latest songs at the festival on Friday 9 May, all of which are set to appear on her next album.
Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said: “This yearās line-up represents the wealth of Scottish musical talent with some very special visitors from England and overseas.
“The breadth of musical brilliance that will open the festival next Friday at the Queens Hall is incredible, and reflects the festivalās strength of programme and position as a key player in Scotlandās year-round calendar of unmissable events.
“Be there!”
Edinburgh Tradfest runs from Friday 2 May to Monday 12 May.
Following the great box office and family audience success of Bluey at the Cinema: Family Trip Collection, Vue LumiĆØre is releasing a second Bluey adventure on the big screen. Bluey at the Cinema: Letās Play Chef Collection will be playing in over 500 cinemas across the UK and Ireland from Saturday 3rd May, just in time for the Early May Bank Holiday weekend.
Bluey at the Cinema: Letās Play Chef Collection is an hour-long treat courtesy of BBC Studios and Ludo Studios, made up of eight episodes from the TV showās three series, all based around the fun of food. The compilation will showcase memorable moments such as Takeaway, Fancy Restaurant, and highlight the Heelerās skills in the kitchen with episodes such as Omelette and Duck Cake.
Commenting on the new and continued offer of Bluey in cinemas, Johnny Carr, Head of Event Cinema and Distribution, Vue LumiĆØre said: āFollowing the tremendous success of Bluey at the Cinema: Family Trip Collection, which garnered over 250k admissions at the box office last summer, weāre delighted to announce this unmissable cinema event ā the worldās leading animated series and global phenomenon – for the May Bank Holiday weekend and beyond.ā
Vue LumiĆØre is the new film distribution division of Vue, bringing the best of independent and international films directly to audiences. Launched in 2024 with the release of the Italian break-out Thereās Still Tomorrow and family hit Bluey at the Cinema: Family Trip Collection, the company is now building a slate for 2025 with the aim of releasing 10-12 films per year in the UK and Ireland ā and ultimately beyond to other Vue territories. Vue is one of the worldās leading cinema operators, managing the most respected brands and spanning eight countries with 223 sites and 1959 screens.
About Bluey
The series follows Bluey, a loveable, inexhaustible, Blue Heeler dog, who lives with her Mum, Dad and her little sister, Bingo. Bluey uses her limitless energy to play games that unfold in unpredictable and hilarious ways, bringing her family and the whole neighbourhood into her world of fun.
Bluey is created and written by Joe Brumm and produced by EmmyĀ® Award-winning Ludo Studio for ABC KIDS (Australia) and co-commissioned by ABC Childrenās and BBC Studios Kids & Family. Financed in association with Screen Australia, Bluey is proudly 100% created, written, animated, and post produced in Brisbane Queensland, Australia, with funding from the Queensland Government through Screen Queensland and the Australian Government. BBC Studios Kids & Family hold the global distribution and merchandise rights.
In Australia, the show is broadcast on ABC. The series airs and streams to U.S. and global audiences (outside of Australia, New Zealand and China) across Disney Channel, Disney Jr. and Disney+ through a global broadcasting deal between BBC Studios Kids & Family and Disney Branded Television.
Bluey has won multiple craft and production awards around the world, including the 2019 International Emmy Kids Award and a 2022 BAFTA Children & Young People Award in the International category. In 2024 alone, Bluey won a Peabody Award, Television Critics Association (TCA) Award for āOutstanding Achievement in Childrenās Programming” and a Rose dāOr award in the āChildren & Youthā category, and many others.
Older autistic people must be involved in decisions about their health and social care services, a new research project from Heriot-Watt University in Edinburgh and charity Scottish Autism suggests.
The project, titled āAutism, Ageing and Social Careā, used creative methods to begin a wider conversation about the support that autistic people will need when they get older.
The research team worked with autistic film-makers to create a documentary about the hopes, concerns and needs of autistic people as they get older.
Workshops with autistic adults, whose ages range from 45 to 80, and care professionals, led to a series of artworks reflecting on what good support looks like for this population in older age.
Professor Mary Stewart, Director of Social Interaction, Mental Health and Wellbeing at Heriot-Watt University, and member of the Universityās Global Research Institute in Health and Care Technologies, is the academic lead for the project.
Professor Stewart said: āUsing filmmaking and art helped us to ask autistic people who communicate in diverse ways to express whatās important to them and how to plan for ageing and change.
āEverybody finds ageing difficult, but it can be particularly challenging for autistic people to access appropriate health and social care provision.ā
Dr Joe Long, Director of Practice and Innovation at Scottish Autism, was a co-researcher on the project. He said: āThe children Scottish Autism first supported in the 1960s are now reaching retirement age, so we know thereās a real need plan properly for the support that older autistic people will need.
āItās really important that those future services are shaped by the people who use them, so this project is about starting those conversations and amplifying the voices of older autistic people.ā
In the documentary film, autistic adults are interviewed by Iceberg Productions, a group of autistic filmmakers who are supported by Scottish Autism, and The Untold Motion Picture Company, which specialises in filmmaking for the voluntary and community sectors.
In the artworks, older autistic peopleās visions of ageing and support are captured in hand-drawn scenes and diagrams by artist Clare Mills of Listen, Think, Draw.
Emma Stanley, a co-researcher on the initiative and a member of the Iceberg Productions team, sadly passed away during the project. Speaking in the films, in which she acted as interviewer, Emma said: āItās an important project, because no matter what walk of life youāre in, you get old.
“My mum died a couple of years ago and thereās still not enough help out there for autistic people suffering bereavement.
“It will get more important when you get older.ā
The researchers say the project provides insights into how to start conversations around what a good life will look like in older age and the need to support understanding of change and loss.
The project also shows the need for creating safer spaces for those dialogues, and for working together to develop a shared understanding of a personās need ā as well as the need for effective care pathways for older autistic people.
The NHS estimates that at least one in 100 people in Scotland is autistic, with some research showing more than double that number. Many older autistic people will not have a diagnosis. Scottish Autism says these figures underline the need to plan properly for inclusive and person-centred services in older age.
The findings of the research will be presented at an event in the Scottish Parliament at Holyrood today (Wednesday 19 March).
The event will be chaired by Daniel Johnson MSP and attended by Minister for Social Care, Mental Wellbeing and Sport, Maree Todd. The event will include a screening of the documentary and display of the artworks created from the project.
As a result of this research, project partners are calling for:
Timely, multi-agency planning for transitions across the lifespan of autistic people, including the transition to older age
Tools and resources to support autistic people to understand the changes they may face and to co-design their care as they age
Holistic care pathways in older age, incorporating multi-disciplinary collaboration and bringing healthcare into familiar and safe environments for autistic people
Data, transparency and accountability relating to the support provided for older autistic people and to the resulting outcomes. This will help maximise the lessons learned, in order to establish best practice.
Edinburgh Tradfest is delighted to announce full details of its 2025 programmeĀ of traditional music, storytelling, film, workshops, talks, ceilidhs, and special events taking place at various venues across the city,Ā thanks to continued support from The National Lottery through Creative Scotland and the William Grant Foundation.
The festivalās music programme kicks off on Friday 2 May at the Queenās Hall with Scotlandās most sought-after piper and composer Ross Ainslie performing with the Sanctuary Band, and special guest Terra Kin.
Then, over the 11 days of the festival, there will be live music every night at the Traverse Theatre, Folk Film screenings predominately at the Cameo, and storytelling, music and special events taking place at the Scottish Storytelling Centre.
Some of the musicians headlining include folk song sensation and multi award-winner Siobhan Miller; Scots singer of the Year 2024 Beth Malcolm; Aberdeenshireās crowning light, folk singer and Young Musician of the Year 2025 Ellie Beaton; national treasure Kathleen MacInnes; and cutting-edge piper Finlay MacDonald performing with his band which includes award-winning piper Ailis Sutherland (Hecla), guitarist/piper Ali Hutton (Ross & Ali, Old Blind Dogs, Treacherous Orchestra, Tryst), and drummer Paul Jennings (Croft No 5, Treacherous Orchestra). Plus, there will be a special event on Sunday 4 May featuring the music and enduring legacy of piper Martyn Bennett.
Also headlining are virtuoso English folk trio Leveret; leading Scots fiddler Lauren MacColl who will be playing tunes from her most recent album Haar; and Mary Macmaster (The Poozies) who will curate and perform as part of this yearās festival commission For the Love of Trees with some of Scotlandās finest musicians: Amy Macdougall (vocals), Donald Hay (percussion), Mairearad Green (accordion, pipes), Pete Harvey (cello) and CiarĆ”n Ryan (banjo/fiddle).
Other Scottish highlights include Morag Brown and Lewis Powell-Reid who perform pacy traditional tunes from Scotland and as far afield as the Balkans; Divergence (Freya Rae, Siannie Moodie and Tim Lane) so named because of their passion for playing non-traditional instruments in traditionally inspired music; cinematic alt-folk duo Rhona Stevens and Joseph Peach; and the unmissable annual #WorldPlayAStrathspey Day presented by Hands Up for Trad and featuring Rory Matheson (piano), and Anna Robertson, Catriona Price and Adam Sutherland (fiddle) who will take audiences through some of the worldās best known strathspeys, reels and marches.
International musicians headlining at this yearās festival include PelkkƤ Poutanen whose music weaves together Scandinavian and Finno-Ugric folk singing with electronic, roots and traditional world folk influences; Canadian singer Catherine MacLellan, and English folk musician Lucy Farrell, also based in Canada, whoāll be presenting a selection of self-penned songs; legendary Kora virtuoso Seckou Keita who has been dubbed the āHendrix of the Koraā; Finnish power-fiddle duo Teho; and the Hartwin Trio from Belgium.
Plus, TheTravelling Janes led by Ali Affleck bring their unique mix of Americana, jazz and blues; and The Hot Seatsfrom Virginia whose combination of old-time, bluegrass and country make them the hot ticket of the festival.
At the Scottish Storytelling Centre there will be stories and music from the Highlands and Islands of Scotland (A Necklace of Stories) with Bea Ferguson and Heather Yule; and tales and tunes from in the North East Bothy Traditionwith ballad singer Allan Taylor, fiddler Karin Paterson and storytellers Phyll McBain and Jackie Ross; storyteller Rachel Pugh and harpist Lucy Nolan present Bog Standard the gripping true story of a tip off which led a rookie journalist to one of the most important archaeological finds of the 20th century; and MAIK (folksingers Jamie Cook and Kirsty Law) present folks songs in Scots and Cumbrian dialects; whilst cinematic-folk duo Dowally and innovative French drummer Philippe Boudot celebrate the release of their album Ici et LĆ -Bas.
The Folk Film Gathering returns to Edinburgh Tradfest this year with a selection of films from the worldās archives including a screening of Ukranian film The Enchanted Desna (1964) directed by Alexander Dovzhenkoās widow Yuliya Solntseva; Fertile Memory (1981) the first full length film to be shot within the occupied Palestinian West Bank āGreen Lineā introduced by Scottish-Palestinian poet Nada Shawa; George Nasserās Ila Ayn (1957) the first ever Lebanese film to screen at Cannes; The Nouba of the Women of Mount Chenoua (1977) which explores the intergenerational experiences and histories of women in Algeria and of speech and silence; and Icelandic film The Juniper Tree (1990) which stars Bjƶrk in an early performance of this adaptation of a Brothers Grimm fairy tale.
Staying with horror, Oār Ddaear Hen (1981) the first horror film to be made in the Welsh language and set in a council house in Bangor about a mysterious stone head, will be screening; along with the Scottish premiere of the new restoration of cult classic of Irish independent cinema The Outcasts (1982); and a series of short dark Gaelic tales from 1996-1999 introduced by Edinburgh-based Gaelic storyteller Martin McIntyre who is also doing a separate session introducing Gaelic storytelling culture and history at the Storytelling Centre.
Also from Scotland there will be a screening of Paper Portraits (2025) a new documentary from Gerda Stevensoncelebrating the history and working people of Penicuikās paper mills; and a rare chance to see Emma Davieās Flight(1997) exploring how Scottish traditions continue to be expressed in Canada by the diaspora.
Finally on Sunday 11 May, to close the Folk Film Festival, in collaboration with the Storytelling Centre, there will be a full day of screenings celebrating independent film in Scotland through the lens of filmmakerĀ Douglas EadieĀ hosted by poetĀ Jim MackintoshĀ and authorĀ James RobertsonĀ who will be joined in conversation by former colleagues of Eadie including Robbie Fraser, Fiona MacDonald and Christeen Winford.
Screenings includeĀ Haston-A Life in the MountainsAn Ceasnachadh – An Interrogation of a Highland LassĀ (with Kathleen MacInnes, Dolina MacLennan and Kenny MacRae) andĀ Down HomeĀ (with Aly Bain).
Families, at the Scottish Storytelling Centre can enjoy a morning of face painting and crafting ahead of the traditional May Day Parade down the High Street to the Pleasance; storytelling with the Beltane Fire Society; a traditional street games, rhymes and songs session with Claire McNicol and Fergus McNicol; sensory stories and play with Ailie Finlay; and family ceilidhs.
In addition, theĀ Edinburgh Youth Gaitherin (EYG)Ā returns with a three-day workshop programme supported by theĀ William Grant FoundationĀ for 13-18 year olds and led by some of Scotlandās finest musicians; andĀ Claire Hastings hosts an hour-long relaxed session for babies and upwards, playing songs to join in with, accompanied by Ali Hutton and Adam Sutherland.Ā
Other workshops held during the festival include: a singing workshop with Chandra Mather where participants will learn a selection of traditional songs from around the world picked up by Chandra on musical travels; a strathspey fiddle workshop with Lauren MacColl; tune writing with one of Scotlandās finest composers Adam Sutherland; and a masterclass in Highland piping from master of the pibroch Allan Macdonald. Plus, the Traditional Music Forum will present an interactive and fun workshop for musicians who want to improve their patter and be better storytellers on stage.
Rebellious Truth,Ā this yearās popular talk presented in collaboration with Celtic and Scottish Studies at theĀ University of Edinburgh,Ā featuresĀ Joy DunlopĀ who will give an insight into her Gaelic journey; from learning Gaelic songs phonetically to being the face of multi-platform learning brand SpeakGaelic. Joy is in high demand as a singer, broadcaster and Scottish step-dancer and is a well-known face on BBC Scotland, BBC Alba and host of the BBC Radio Scotland Traditional Musician of the Year. The talk will also include a special performanceĀ Ā by musicianĀ Fraser Fifield.
ETF Spotlight, this yearās showcase concert presenting some of the most exciting new performers in folk and traditional music today returns with artist and musician Miwa Nagato-Apthorp, Parsisonic led by Iranian duo Aref Ghorbani and Amir Hossein Feyzi, and trad fusion band Dlù.
And, finally Masks: An Exhibition by Lorraine Pritchard (5 April to 12 May)displaying hand-crafted Venetian masks will be on at the Storytelling Centre alongside a series of photographs and a new behind-the-scenes documentary by Franzis Sanchez shot in Edinburgh and during this yearās Venice Carnival. This exhibition is part of the Pomegranates Festival of world trad dance and presented by the Traditional Dance Forum of Scotland.
Alan Morrison, Head of Music at Creative ScotlandĀ said: āScotlandās traditions are vividly expressed and deeply felt in our words, our images and our music. As the beating heart of our national identity, theyāre filtered through the 2025 Tradfest programme and across Edinburghās stages and screens, its walls and its streets.
“Supported by Creative Scotland through National Lottery funds, this important and inspiring event recognises not only the roots of Scotlandās revived folk culture in the cityās past but also the international ambition of our increasingly diverse countryās future.
“Thought-provoking, thrilling and straight-up fun in equal measure, Tradfest is a highlight on our cultural calendar.ā
Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said:
āEach year we give ourselves the challenge of building a festival packed with more superlative music than the preceding year. With more shows booked for 2025 than ever before, we think we have achieved that. Itās a wonderful mix of the exotic and the home grown. Virtuoso visitors from Senegal, Finland, Belgium, Canada, the US and England will grace Edinburghās stages joining an extremely strong Scottish contingent. Appearing are some of the best singers that Scotland has ever produced, the finest fiddle-players, harpists, strings-players, pianists, and, of course, pipers. We are also indebted to our partners at TRACS and the Folk Film Gathering who have provided a fabulous array of storytelling, family events and folk cinema that complement the musical offerings perfectly.ā
Daniel Abercrombie, Head of Programming, Scottish Storytelling Centre said: āEdinburgh Tradfest is a great time of the year, with lighter nights and a chance for storytellers to celebrate with musicians, dancers and other creatives. We are offering a variety of traditional arts activities for all to enjoy, with several exciting new performances alongside workshops and family events. It is a highlight of our calendar at the Scottish Storytelling Centre and weāre delighted to be involved once again.ā
Jamie Chambers, Folk Film Gathering said: āWe are really excited to be collaborating with our sister festival Tradfest once again, to present a programme of films screenings, in parallel with their exciting music programming. Our 2025 programme features a number of very rare films from Scotland, alongside films from Algeria, Iceland, Lebanon, Morocco, Palestine, Ukraine and Wales, and provides a chance to once again consider how we look outwards from Scotland towards the rest of the world. We hope to see you there.ā
Edinburgh Tradfest 2025 will run from Friday 2 May – Monday 12 May. For tickets and more information visit edinburghtradfest.com
Edinburgh-based talent take home top accolades at industry event
The winners of this year’s prestigious Gaelic short film competition, FilmG, were revealed on Friday night in front of a packed audience of 500 filmmakers, industry professionals and FilmG enthusiasts at the SEC in Glasgow.
Hosted by BBC ALBA’s Siobhan Sutherland, the 17th annual ceremony showcased an impressive range of films, including drama, documentary, and comedy, in separate under-18 and over-18 competitions.
The competition’s expert judging panel awarded top prizes based on originality, storytelling, technical execution, and overall impact.
Edinburgh-based production company Riochdachadh Rambling Celt (Rambling Celt Productions) won Best Comedy 18+ for their film, A’ Cluich, which sees two musicians compete for a prime spot on an Edinburgh street.
Director, Róise Nic An Bheatha, who hails from Edinburgh, incorporated a number of her family members into the production, with her younger siblings even playing the lead roles. Róise’s recent bilingual Gaelic and Irish short film Le ChĆØile has also collected multiple awards after being screened at festivals worldwide.
Rob MacNeacail, also from Edinburgh, collected the individual Technical Excellence Award 18+ for his audio production of the film.
Best Drama (-18) went to Parker Dawes forĀ Air Choire, marking another milestone for the young filmmaker, whose first commissioned film,Ā DĆ Sgadan, aired on BBC ALBA at Christmas – all while still in high school. Parker is the most successful individual winner in the history of FilmG, with this being his sixth win.
Parker Dawes expressed his excitement: “Winning Best Drama means so much to me. I loved makingĀ Air Choire, and to see it recognised in this way is amazing. FilmG has played a huge part in my journey, and I’m grateful for the support and inspiration it has given me.”
In the 18+ competition, the coveted Best Drama award went to AllanWith1Eils for their thrilling short,Ā Falach-Fead, a twist on hide and seek that gripped the audience. Filmmaking couple Allan Crook and Eilidh Johnson are frequent FilmG entrants and similarly collected the top award two years ago.
Eilidh Johnson said: “We’re thrilled to win Best Drama! FilmG gives us a creative outlet, and it’s an honour to be recognised by the judges again. We always try to surprise the audience, so I’m really happy that’s worked, and hopefully, we can surprise them again in the future.”
Public votes determined the FilmG Choice Awards, with Glen Urquhart High School’s Am Blà ⦠taking the under-18 prize for their witty spoof of BBC ALBA’s An LĆ , while content creator Lauren Smith won in the over-18 category for GĆ idhlig, a’ Choimhearsnachd agus Mise, an intimate exploration of her personal connection to the language.
FilmG Project Director Murdo MacSween said: “It’s inspiring to see over 500 attend the awards to help celebrate Gaelic short films, and we’re excited to see what the future holds not just for the winners but also those who might be spurred on by what they saw.”
Maggie Taylor, Head of Publishing at MG ALBA, which owns FilmG, added: “A huge congratulations to all our nominees and winners and a special thank you to Siobhan for keeping the audience captivated throughout the evening.
The FilmG Awards continue to highlight the importance of Gaelic voices in Scotland’s storytelling landscape.”
Scottish Operaās award-winning animated short film Josefine will screen at The Scotsman Picturehouse in Edinburgh on 25 March, with showings at 4.30pm and 6.30pm.
The 14-minute film, Scottish Operaās first venture into animation, brings Franz Kafkaās last short story āJosefine the Singerā to life through a unique blend of operatic performance and contemporary animation.
Set in a striking desert landscape, the story follows a mysterious creature whose ethereal voice captures an audience of sprites, exploring themes of artistry, crisis and hope.
After watching the film (produced in partnership with Maestro Broadcasting), audiences will hear director Antonia Bain, Scottish Operaās resident filmmaker, composer Samuel Bordoli, andconductor Susannah Wapshott, in conversation with The Scotsmanās classical music critic, Ken Walton, about how the animation came together.
Josefineās soundtrack features 2022/23 Emerging Artist soprano Zoe Drummond, a chorus, and The Orchestra of Scottish Opera. It was animated by a team headed by Sophie Bird.
At last yearāsMessina Film Festival ā Cinema & Opera, Josefine was chosen from 1400 entries to receive the Emi Mammoliti Award for best short film. This award adds to the growing list of laurels for Josefine which was named Best Animation at this yearās Cannes Arts Film Fest, Mannheim Arts and Film Festival Winner for Best Family and Children Friendly, and received an Honourable Mention in Animation. It has been screened at festivals all over the world, including Viennaās Rathausplatz and the Venice Biennale.
Alex Reedijk, Scottish Opera General Director said: āWe’re delighted to presentĀ Josefine,Ā Scottish Operaās first ever opera animation, at The Scotsman Picturehouse, in partnership with The Scotsman.
“This film represents our commitment to pushing creative boundaries and finding new ways to present opera, and it will be wonderful to see it in this special Edinburgh venue.
“Thereās also the added bonus of listening to Ken Walton, with his wealth of classical music knowledge, speak to the creative team behind this animation. We look forward to welcoming you to this unique event.ā
DirectorĀ Antonia BainĀ said: āJosefineĀ was born as a response to arts place in a time of crisis. Itās also a story about parenthood, a child discovering their talent, nurturing creativity, how to search for hope within when there seems to be only darkness outside, and most importantly the beauty of the voice and the overwhelming power of music to nourish the human soul.
āLoosely inspired by Franz Kafkaās last short story āJosefine the Singerā, which looks at the relationship a singer has with her impoverished audience who find solace in her singing but have no time for her creative demands, was first introduced to me by my friend and collaborator, the composer and librettist Samuel Bordoli.
āCreating Josefine has been a dream come true for our whole team and we all fell in love with this beautiful little character. It has been amazing to see her sing in cinemaās across the world, from New York to Venice, to a packed audience on an outdoor screen in Vienna and then winning the best short film award at the Messina Opera and Cinema festival in Sicily.
āIām absolutely thrilled then, that Josefine is coming home to Scotland and I canāt wait to watch the film together with all of the creative team, my friends and family and Scottish audiences for the first time.ā
Josefine is also showing at Northampton Film Festival on 8 March, and at Glasgow Short Film Festival on 21 March, so this is another brilliant opportunity to see the UKās first newly commissioned opera made specifically for animation, on the big screen.
Tickets forĀ JosefineĀ at The Scotsman Picturehouse are available from:
The UKās largest outdoor cinema, Adventure Cinema announces its most spectacular season to date with incredible films at new magical locations
Screening new favourites, from Wicked Sing-A-Long to Moana 2, along with cult classics like Bridget Jonesā Diary, Pretty Woman, The Greatest Showman, concert screenings and much more
Tickets are now on sale, with over 300 screenings at over 60 venues nationwide
Returning on Friday 23rd May, with its most spectacular season ever, Adventure Cinema, in partnership with Ring, will visit more than 60 enchanting destinations nationwide, with stunning new venues for 2025, including Londonās iconic Kew Gardens, Northumberlandās Alnwick Castle (Hogwarts in the first Harry Potter movie), Wiltshireās Stourhead House, Kentās Leeds Castle, Stevenageās Knebworth House, Walesā Cardiff Castle and many many more.
Whether under the stars at breathtaking National Trust sites, medieval castles or a beautiful country estate, Adventure Cinema provides a cinema experience like no other in the great British outdoors.
From heart-warming family favourites to sing-a-long classics, adventure-packed blockbusters, and live concert screenings, thereās something for everyone.
Screening favourite feel good Sing-A-Longs like Mamma Mia!, Grease and The Greatest Showman, along with 2024ās most coveted film Wicked, Adventure Cinema will make everyone want to sing and dance beneath the summer sky. Further highlights include Moana 2, The Lion King, Queen Spectacular, Star Wars, Bridget Jonesā Diary and many more.
For those who love belting out show tunes, special Sing-A-Long screenings of Wicked, The Greatest Showman and Grease are sure to bring audiences together for an unforgettable feel-good night.
At a select number of locations, fans of musicals can expect an elevated experience to witness a Queen Spectacular of Bohemian Rhapsody with a classic Queen concert in tow, and an ABBA-solutely fabulous double bill of Mamma Mia! Plus an ABBA Disco.
For those who love a feel-good film, or who are looking to entertain the whole family, there will be screenings of Disney favourites Moana 2 and The Lion King, along with Harry Potter, Shrek, The Gruffalo and more.
Perfect for evenings with friends, everyone can enjoy taking a trip down memory lane to laugh, cry – and cry with laughter, with screenings of the most iconic rom-coms of all time, including Bridget Jones, Pretty Woman and Dirty Dancing.
With more stunning venues than ever before, brand new destinations for 2025 include Londonās iconic Kew Gardens, Alnwick Castle, Stourhead House, Westonbirt National Arboretum, Leeds Castle, Lincoln Castle, Cardiff Castle, Harewood House, Wollaton Hall, Knebworth House and Bolesworth Castle. With national parks, castles, stately homes and countless heritage sites, the 2025 Adventure Cinema tour is set to be the most memorable yet.
Whether packing a picnic to share with pals or to enjoy a big family outing, Adventure Cinemaās destinations also offer a variety of on-site food and drink options, so guests can relax and sit back with delicious snacks to enjoy during the show.
Adventure Cinema are thrilled to welcome back Ring as headline partner for 2025. Known for creating innovative ways to help people stay connected to what matters most, Ring will offer attendees exciting prizes throughout this season’s events.
Tickets for Adventure Cinema start from £9.50 + Booking fee and are available from Thursday 27th February: www.adventurecinema.co.uk
Movies being shown on the tour include:
Wicked Sing-A-Long, Dirty Dancing, The Lion King, Queen Spectacular, Grease Sing-A-Long, Moana 2, Andrea Bocelli 30: The Celebration, The Greatest Showman Sing-A-Long, Mamma Mia! ExtrABBAganza, The Gruffaloās Child & Zog, The Gruffalo & Stick Man, Sing, Pretty Woman, Star Wars: A New Hope, Harry Potter, Bridget Jonesā Diary, Shrek, Twin Town, Notting Hill, Pride and Prejudice, The Princess Bride, The Goonies
Culture Secretary Lisa Nandy made an inaugural lecture at the Royal Shakespeare Company yesterday, marking the 60th anniversary of the first ever arts white paper:
In 2019, as Britain tore itself apart over Brexit, against a backdrop of growing nationalism, anger and despair I sat down with the film director Danny Boyle to talk about the London 2012 Olympics Opening Ceremony.
That moment was perhaps the only time in my lifetime that most of the nation united around an honest assessment of our history in all its light and dark, a celebration of the messy, complex, diverse nation weāve become and a hopeful vision of the future.
Where did that country go? I asked him. He replied: itās still there, itās just waiting for someone to give voice to it. ā¦
13 years later and we have waited long enough. In that time our country has found multiple ways to divide ourselves from one another.
We are a fractured nation where too many people are forced to grind for a living rather than strive for a better life.
Recent governments have shown violent indifference to the social fabric – the local, regional and national institutions that connect us to one another, from the Oldham Coliseum to Northern Rock, whose foundation sustained the economic and cultural life of the people of the North East for generations.
But this is not just an economic and social crisis, it is cultural too.
We have lost the ability to understand one another.
A crisis of trust and faith in government and each other has destroyed the consensus about what is truthfully and scientifically valid.
Where is the common ground to be found on which a cohesive future can be forged? How can individuals make themselves heard and find self expression? Where is the connection to a sense of belonging to something larger than ourselves?
I thought about that conversation with Danny Boyle last summer when we glimpsed one version of our future. As violent thugs set our streets ablaze, a silent majority repelled by the racism and violence still felt a deep sense of unrest. In a country where too many people have been written off and written out of our national story. Where imagination, creation and contribution is not seen or heard and has no outlet, only anger, anxiety and disorder on our streets.
There is that future.
Or there is us.
That is why this country must always resist the temptation to see the arts as a luxury. The visual arts, music, film, theatre, opera, spoken word, poetry, literature and dance – are the building blocks of our cultural life, indispensable to the life of a nation, always, but especially now.
So much has been taken from us in this dark divisive decade but above all our sense of self-confidence as a nation.
But we are good at the arts. We export music, film and literature all over the world. We attract investment to every part of the UK from every part of the globe. We are the interpreters and the storytellers, with so many stories to tell that must be heard.
And despite everything that has been thrown at us, wherever I go in Britain I feel as much ambition for family, community and country as ever before. In the end, for all the fracture, the truth remains that our best hope⦠is each other.
This is the country that George Orwell said ālies beneath the surfaceā.
And it must be heard. It is our intention that when we turn to face the nation again in four years time it will be one that is more self-confident and hopeful, not just comfortable in our diversity but a country that knows it is enriched by it, where everybodyās contribution is seen and valued and every single person can see themselves reflected in our national story.
You might wonder, when so much is broken, when nothing is certain, so much is at stake, why I am asking more of you now.
John F Kennedy once said we choose to go to the moon in this decade not because it is easy but because it is hard.
That is I think what animated the leaders of the post war period who, in the hardest of circumstances knew they had to forge a new nation from the upheaval of war.
And they reached for the stars.
The Festival of Britain ā which was literally built out of the devastation of war – on a bombed site on the South Bank, took its message to every town, city and village in the land and prioritised exhibitions that explored the possibilities of space and technology and allowed a devastated nation to gaze at the possibilities of the future.
So many of our treasured cultural institutions that still endure to this day emerged from the devastation of that war.
The first Edinburgh Festival took place just a year after the war when – deliberately – a Jewish conductor led the Vienna Philharmonic, a visible symbol of the power of arts to heal and unite.
From the BBC to the British Film Institute, the arts have always helped us to understand the present and shape the future.
People balked when John Maynard Keynes demanded that a portion of the funding for the reconstruction of blitzed towns and cities must be spent on theatres and galleries. But he persisted, arguing there could be āno better memorial of a war to save the freedom of spirit of an individualā.
Yes it took visionary political leaders.
But it also demanded artists and supporters of the arts who refused to be deterred by the economic woes of the country and funding in scarce supply, and without hesitation cast aside those many voices who believed the arts to be an indulgence.
This was an extraordinary generation of artists and visionaries who understood their role was not to preserve the arts but to help interpret, shape and light the path to the future.
Together they powered a truly national renaissance which paved the way for the woman we honour today – Jennie Lee – whose seminal arts white paper, the first Britain had ever had, was published 60 years ago this year.
It stated unequivocally the Wilson governmentās belief in the power of the arts to transform society and to transform lives.
Perhaps because of her belief in the arts in and of itself, which led to her fierce insistence that arts must be for everyone, everywhere – and her willingness to both champion and challenge the arts – she was – as her biographer Patricia Hollis puts it – the first, the best known and the most loved of all Britainās Ministers for the Arts.
When she was appointed so many people sneered at her insistence on arts for everyone everywhere..
And yet she held firm.
That is why we are not only determined – but impassioned – to celebrate her legacy and consider how her insistence that culture was at the centre of a flourishing nation can help us today.
This is the first in what will be an annual lecture that gives a much needed platform to those voices who are willing to think and do differently and rise to this moment, to forge the future, written – as Benjamin Zephaniah said – in verses of fire.
Because governments cannot do this alone. It takes a nation.
And in that spirit, her spirit. I want to talk to you about why we need you now. What you can expect from us. And what we need from you. ā¦
George Bernard Shaw once wrote: āImagination is the beginning of creation.
āyou imagine what you desire,
āyou will what you imagine –
āand at last you create what you will.ā
That belief that arts matter in and of themselves, central to the chance to live richer, larger lives, has animated every Labour Government in history and animates us still.
As the Prime Minister said in September last year: āEveryone deserves the chance to be touched by art. Everyone deserves access to moments that light up their lives.
āAnd every child deserves the chance to study the creative subjects that widen their horizons, provide skills employers do value, and prepares them for the future, the jobs and the world that they will inherit.ā
This was I think Jennie Leeās central driving passion, that āall of our children should be given the kind of education that was the monopoly of the privileged fewā ā to the arts, sport, music and culture which help us grow as people and grow as a nation.
But who now in Britain can claim that this is the case? Whether it is the running down of arts subjects, the narrowing of the curriculum and the labelling of arts subjects as mickey mouse – enrichment funding in schools eroded at the stroke of the pen or the closure of much-needed community spaces as council funding has been slashed.
Culture and creativity has been erased, from our classrooms and our communities.
Is it any wonder that the number of students taking arts GSCEs has dropped by almost half since 2010?
This is madness. At a time when the creative industries offer such potential for growth, good jobs and self expression in every part of our country And a lack of skills acts as the single biggest brake on themā¦bar none, we have had politicians who use them as a tool in their ongoing, exhausting culture wars.
Our Cabinet, the first entirely state educated Cabinet in British history, have never accepted the chance to live richer, larger lives belongs only to some of us and I promise you that we never ever will.
That is why we wasted no time in launching a review of the curriculum, as part of our Plan for Change.
To put arts, music and creativity back at the heart of the education system. Where they belong.
And today I am delighted to announce the Arts Everywhere fund as a fitting legacy for Jennie Leeās vision – over Ā£270 million investment that will begin to fix the foundations of our arts venues, museums, libraries and heritage sector in communities across the country.
We believe in them. And we will back them.
Because as Abraham Lincoln once said, the dogmas of a quiet past are inadequate to the stormy present.
Jennie Lee lived by this mantra. So will we.
We are determined to escape the deadening debate about access or excellence which has haunted the arts ever since the formation of the early Arts Council.
The arts is an ecosystem, which thrives when we support the excellence that exists and use it to level up.
Like the RSCās s āFirst Encountersā programme. Or the incredible Shakespeare North Playhouse in Knowsley where young people are first meeting with spoken word.
When I watched young people from Knowsley growing in confidence, and dexterity, reimagining Shakespeare for this age and so, so at home in this amazing space it reminded me of my childhood.
Because in so many ways I grew up in the theatre. My dad was on the board of the National, and as a child my sister and I would travel to London on the weekends we had with our dad to see some of the greatest actors and directors on earth ā Helen Mirren, Alan Rickman, Tom Baker, Trevor Nunn and Sam Mendes. We saw Chekhov, Arthur Miller and Brecht reimagined by the National, the Donmar and the Royal Court.
It was never, in our house, a zero-sum game. The thriving London scene was what inspired my parents and others to set up what was then the Corner House in Manchester, which is now known as HOME.
It inspired my sister to go on to work at the Royal Exchange in Manchester where she and I spent some of the happiest years of our lives watching tragedy and farce, comedy and social protest.
Because of this I love all of it – the sound, smell and feel of a theatre. I love how it makes me think differently about the world. And most of all I love the gift that our parents gave us, that we always believed these are places and spaces for us.
I want every child in the country to have that feeling. Because Britainās excellence in film, literature, theatre, TV, art, collections and exhibitions is a gift, it is part of our civic inheritance, that belongs to us all and as its custodians it is up to us to hand it down through the generations.
Not to remain static, but to create a living breathing bridge between the present, the past and the future.ā¦
My dad, an English literature professor, once told me that the most common mistakes students make – including me – he meant me actually – was to have your eye on the question, not on the text.
So, with some considerable backchat in hand, I had a second go at an essay on Hamlet – why did Hamlet delay? – and came to the firm conclusion that he didnāt. That this is the wrong question. I say this not to start a debate on Hamlet, especially in this crowd, but to ask us to consider this:
If the question is – how do we preserve and protect our arts institutions? Then access against excellence could perhaps make sense. I understand the argument, that to disperse excellence is somehow to diffuse it.
But If the question is – how to give a fractured nation back its self confidence? Then this choice becomes a nonsense. So it is time to turn the exam question on its head and reject this false choice.
Every person in this country matters. But while talent is everywhere, opportunity is not. This cannot continue. That is why our vision is not access or excellence but access to excellence. We will accept nothing less. This country needs nothing less. And thanks to organisations like the RSC we know it can be achieved.ā¦
I was reflecting while I wrote this speech how at every moment of great upheaval it has been the arts that have helped us to understand the world, and shape the future.
From fashion, which as Eric Hobsbawm once remarked, was so much better at anticipating the shape of things to come than historians or politicians, to the angry young men and women in the 1950s and 60s ā that gave us plays like Look Back in Anger ā to the quiet northern working class rebellion of films like Saturday Night Sunday Morning, This Sporting Life and Loneliness of the Long Distance Runner.
Without the idea that excellence belongs to us all – this could never have happened. What was once considered working class, ethnic minority or regional – worse, in Jennie Leeās time, it was called āthe provincesā which she banned – thank God. These have become a central part of our national story.ā¦.
I think the arts is a political space. But the idea that politicians should impose a version of culture on the nation is utterly chilling.
When we took office I said that the era of culture wars were over. It was taken to mean, in some circles, that I could order somehow magically from Whitehall that they would end.
But I meant something else. I meant an end to the āmind forged manaclesā that William Blake raged against and the āmind without fearā that Rabindranath Tagore dreamt of.
Would this include the rich cultural heritage from the American South that the Beatles drew inspiration from, in a city that has been shaped by its role in welcoming visitors and immigrants from across the world? Would it accommodate Northern Soul, which my town in Wigan led the world in?
We believe the proper role of government is not to impose culture, but to enable artists to hold a mirror up to society and to us. To help us understand the world weāre in and shape and define the nation.
Who know that is the value that you alone can bring.
I recently watched an astonishing performance of The Merchant of Venice, set in the East End of London in the 1930s. In it, Shylock has been transformed from villain to victim at the hands of the Merchant, who has echoes of Oswald Mosely. I donāt want to spoil it – not least because my mum is watching it at the Lowry next week and would not forgive me- but it ends with a powerful depiction of the battle of Cable Street.
Nobody could see that production and fail to understand the parallels with the modern day. No political speech I have heard in recent times has had the power, that power to challenge, interpret and provoke that sort of response. To remind us of the obligations we owe to one another.
Other art forms can have – and have had – a similar impact. Just look at the ITV drama Mr Bates vs The Post Office. It told a story with far more emotional punch than any number of political speeches or newspaper columns.
You could say the same of the harrowing paintings by the Scottish artist Peter Howson. His depiction of rape when he was the official war artist during the Bosnian War seared itself into peopleās understanding of that conflict. It reminds me of the first time I saw a Caravaggio painting. The insistence that it becomes part of your narrative is one you never ever forget.
That is why Jennie Lee believed her role was a permissive one. She repeated this mantra many times telling reporters that she wanted simply to make living room for artists to work in. The greatest art, she said, comes from the torment of the human spirit ā adding – and you canāt legislate for that.
I think if she were alive today she would look at the farce that is the moral puritanism which is killing off our arts and culture – for the regions and the artistic talent all over the country where the reach of funding and donors is not long enough – the protests against any or every sponsor of the arts, I believe, would have made her both angered and ashamed.
In every social protest – and I have taken part in plenty – you have to ask, who is your target? The idea that boycotting the sponsor of the Hay Festival harms the sponsor, not the festival is for the birds.
And I have spent enough time at Hay, Glastonbury and elsewhere to know that these are the spaces – the only spaces – where precisely the moral voice and protest comes from. Boycotting sponsors, and killing these events off, is the equivalent of gagging society. This self defeating virtue signalling is a feature of our times and we will stand against it with everything that weāve got.
Because I think we are the only [political context removed] force, right now, that believes that it is not for the government to dictate what should be heard.
But there is one area where we will never be neutral and that is on who should be heard.
Too much of our rich inheritance, heritage and culture is not seen. And when it is not, not only is the whole nation poorer but the country suffers.
It is our firm belief that at the heart of Britainās current malaise is the fact that too many people have been written off and written out of our national story. And, to borrow a line from my favourite George Eliot novel, Middlemarch, it means we cannot hear that āroar that lies on the other side of silenceā. What we need – to completely misquote George Elliot – is a keen vision and feeling of all ordinary human life.ā Weāve got to be able to hear it.
And this is personal for me.
I still remember how groundbreaking it was to watch Bend it Like Beckham – the first time I had seen a family like ours depicted on screen not for being Asian (or in my case mixed race) but because of a young girlās love of football.
And I was reminded of this yearās later when Maxine Peake starred in Queens of the Coal Age, her play about the women of the minersā strike, which she put on at the Royal Exchange in Manchester.
The trains were not running – as usual – but on one of my council estates the women who had lived and breathed this chapter of our history clubbed together, hired a coach and went off to see it. It was magical to see the reaction when they saw a story that had been so many times about their lives, finally with them in it.
We are determined that this entire nation must see themselves at the centre of their own and our national story. Thatās a challenge for our broadcasters and our film-makers.
Show us the full panoply of the world we live in, including the many communities far distant from the commissioning room which is still far too often based in London.
But itās also a challenge for every branch of the arts, including the theatre, dance, music, painting and sculpture. Letās show working-class communities too in the work that we do – and not just featuring in murder and gangland series.
Part of how we discover that new national story is by breathing fresh life into local heritage and reviving culture in places where it is disappearing.
Which is why weāre freeing up almost Ā£5 million worth of funding for community organisations – groups who know their own area and what it needs far better than Whitehall. Groups determined to bring derelict and neglected old buildings back into good use. These are buildings that stand at the centre of our communities. They are visible symbols of pride, purpose and their contribution and their neglect provokes a strong emotional response to toxicity, decline and decay. Weāre determined to put those communities back in charge of their own destiny again.
And another important part of the construction is the review of the arts council, led by Baroness Margaret Hodge, who is with us today. When Jennie Lee set up regional arts associations the arts council welcomed their creation as good for the promotion of regional cultures and in the hope they would ācreate a rod for the arts councilās backā.
They responded to local clamour, not culture imposed from London. Working with communities so they could tell their own story. That is my vision. And itās the vision behind the Arts Everywhere Fund that we announced this morning.
The Arts Council Review will be critical to fulfilling that vision and today weāre setting out two important parts of that work – publishing both the Terms of Reference and the members of the Advisory Group who will be working with Baroness Hodge, many of whom have made the effort to join us here today.
We have found the Jennie Leeās of our age, who will deliver a review that is shaped around communities and local areas, and will make sure that arts are for everyone, wherever they live and whatever their background. With excellence and access.
But we need more from you. We need you to step up.
Across the sporting world from Boxing to Rugby League clubs, theyāre throwing their doors open to communities, especially young people, to help grip the challenges facing a nation. Opening up opportunities. Building new audiences. Creating the champions of the future. Lots done, but much more still to do.
Every child and adult should also have the opportunity to access live theatre, dance and music – to believe that these spaces belong to them and are for them. We need you to throw open your doors. So many of you already deliver this against the odds. But the community spaces needed – whether community centres, theatres, libraries are too often closed to those who need them most.
Too often we fall short of reflecting the full and varied history of the communities which support us. Thatās why we have targeted the funding today to bring hope flickering back to life in community-led culture and arts – supported by us, your government, but driven by you and your communities.
Itās one of the reasons we are tackling the secondary ticket market, which has priced too many fans out of live music gigs. Itās also why we are pushing for a voluntary levy on arena tickets to fund a sustainable grassroots music sector, including smaller music venues.
But I also want new audiences to pour in through the doors – and I want theatres across the country to flourish as much as theatres in the West End.
I also want everyone to be able to see some of our outstanding art, from Lowry and Constable to Anthony Gormley and Tracey Emin.
Too much of the nationās art is sitting in basements not out in the country where it belongs. I want all of our national and civic galleries to find new ways of getting that art out into communities.
There are other challenges. There is too much fighting others to retain a grip on small pots of funding and too little asking āwhat do we owe to one anotherā and what can I do.
Jennie Lee encouraged writers and actors into schools and poets into pubs. She set up subsidies so people, like the women from my council estate in Wigan, could travel to see great art and theatre. She persuaded Henry Moore to go and speak to children in a school in Castleford, in Yorkshire who were astonished when he turned up not with a lecture, but with lumps of clay.
There are people who are doing this now. The brilliant fashion designer Paul Smith told me about a recent visit to his old primary school in Nottingham where he went armed with the material to design a new school tie with the kids. These are the most fashionable kids on the block.
I know itās been a tough decade. Funding for the arts has been slashed. Buildings are crumbling. And the pandemic hit the arts and heritage world hard.
And I really believe that the Government has a role to play in helping free you up to do what you do best – enriching peopleās lives and bringing communities together – so with targeted support like the new Ā£85m Creative Foundations Fund that weāre launching today with the Arts Council we hope that weāll be able to help you with what you do best.
SOLTās own research showed that, without support, 4 in 10 theatres they surveyed were at risk of closing or being too unsafe to use in five yearsā time. So today we are answering that call. This fund is going to help theatres, galleries, and arts centres restore buildings in dire need of repairs.
And on top of that support, weāre also getting behind our critical local, civic museums – places which are often cultural anchors in their village, town or city. Theyāre facing acute financial pressures and they need our backing. So our new Museum Renewal Fund will invest Ā£20 million in these local assets – preserving them and ensuring they remain part of local identities, to keep benefitting local people of all ages.
In my town of Wigan we have the fantastic Museum of Wigan Life and it tells the story of the contribution that the ordinary, extraordinary people in Wigan made to our country, powering us through the last century through dangerous, difficult, dirty work in the coal mines.
That story, that understanding of the contribution that Wigan made, I consider to be a part of the birthright and inheritance of my little boy growing up in that town today and we want every child growing up in a community to understand the history and heritage and contribution that their parents and grandparents made to this country and a belief that that future stretches ahead of them as well. Not to reopen the coal mines, but to make a contribution to this country and to see themselves reflected in our story.
But for us to succeed we need more from you. This is not a moment for despair. This is our moment to ensure the arts remain central to the life of this nation for decades to come and in turn that this nation flourishes.
If we get this right we can unlock funding that will allow the arts to flourish in every part of Britain, especially those that have been neglected for far too long, by creating good jobs and growth, and giving children everywhere the chance to get them.
Our vision is not just to grow the economy, but to make sure it benefits people in our communities. So often where iāve seen investments in the last decade and good jobs created, I go down the road to a local school and I see children who can see those jobs from the school playground, but could no more dream of getting to the moon than they could of getting those jobs. And we are determined that thatās going to change.
This is what weāve been doing with our creative education programmes (like the Museums and Schools Programme, the Heritage Schools Programme, Art & Design National Saturday Clubs and the BFI Film Academy.) These are programmes we are proud to support and ones Iām personally proud that my Department will be funding these programmes next year.
Be in no doubt, we are determined to back the creative industries in a way no other government has done. Iām delighted that we have committed to the audiovisual, video games, theatre, orchestra and museums and galleries tax reliefs, as well as introducing the new independent film and VFX tax reliefs as well.
You wonāt hear any speeches from us denigrating the creative industries or lectures about ballerinas being forced to retrain.
Yes, these are proper jobs. And yes, artists should be properly remunerated for their work.
We know these industries are vital to our economic growth. They employ 1 in 14 people in the UK and are worth more than £125 billion a year to our economy. We want them to grow. That is why they are a central plank of our industrial strategy.
But I want to be equally clear that these industries only thrive if they are part of a great artistic ecosystem. Matilda, War Horse and Les Miserables are commercial successes, but they sprang from the public investment in theatre.
James Graham has written outstanding screenplays for television including Sherwood, but his first major play was the outstanding This House at the National and his other National Theatre play Dear England is now set to be a TV series.
You donāt get a successful commercial film sector without a successful subsidised theatre sector. Or a successful video games sector without artists, designers, creative techies, musicians and voiceover artists.
So itās the whole ecosystem that we have to strengthen and enhance. Itās all connected.
The woman in whose name weāve launched this lecture series would have relished that challenge. She used to say she had the best job in government
āAll the others deal with peopleās sorrows⦠but I have been called the Minister of the Future.ā
That is why I relish this challenge and why working with those of you who will rise to meet this moment will be the privilege of my life.ā¦
I wanted to leave with you with a moment that has stayed with me.
A few weeks ago I was with Andy Burnham, the Mayor of Greater Manchester, who has become a great friend. We were in his old constituency of Leigh, a town that borders Wigan. And we were talking about the flashes, which in our towns used to be open cast coalmines.
They were regenerated by the last Labour government and theyāve now become these incredible spaces, with wildlife and green spaces with incredible lakes that are well used by local children.
We had a lot to talk about and a lot to do. But as we looked out at the transformed landscape wondering how in one generation we had gone from scars on the landscape to this, he said, the lesson Iāve taken from this is that nature recovers more quickly than people.
While this government, through our Plan for Change, has made it our mission to support a growing economy, so we can have a safe, healthy nation where people have opportunities not currently on offer ā the recovery of our nation cannot be all bread and no roses. Our shared future depends critically on every one of us in this room rising to this moment.
To give voice to the nation we are, and can be.
To let hope and history rhyme.
So let no one say it falls to anyone else. It falls to us.