In 2021, the film industry in the United Kingdom generated approximately ***** billion British pounds in revenue, up down from ***** billion pounds in the previous year. The number of film and video production companies in the UK grew by around four percent in 2020.

According to a study led in July 2024 in Great Britain, 56 percent of British respondents wanted to see more comedy films. On the other hand, more than half of them claimed to want less video game adaptations or reboots of old movies.

The film production industry is volatile, as it relies on investments in the production of feature films, particularly from the US. This means external factors significantly sway the industry's success, like the USD-GBP exchange rate, film tax incentives and credit availability. Advances in film production and creative developments worldwide also affect the industry. The global film market has been curbed by the weak performance of cinemas since the pandemic, with UK attendance struggling at 68% of 2019 levels, according to the UK Cinema Association. However, the growth of streaming platforms has provided studios with new revenue sources. Major platforms like Netflix and Disney+ have surged in subscriber numbers and are bringing in significant funding for filmmaking. The industry is projected to accelerate at a compound annual rate of 7.6% over the five years through 2025-26 to £8.1 billion. The UK Film Tax Relief programme has appealed to film producers and contributed to the expansion of UK studio capacity thanks to its 40% tax relief incentive, particularly with leading producers who provide inward investment. This has aided profit, particularly for blockbuster productions. In recent years, an expanding number of high-budget films have been produced in the UK thanks to its tax programme and high investments in improving studio facilities. Writer and actor strikes hampered production in 2023-24, leading to a temporary drop in revenue over the year as productions ground to a halt. Industry revenue is forecast to climb at a compound annual rate of 7.9% over the five years through 2030-31, reaching £11.8 billion. Recently agreed co-production treaties are likely to support the industry soon, allowing easier labour movement and movie distribution. The UK-EU trade deal can also aid inward investment and export sales to the bloc. The government's Global Screen Fund will support the industry as it partially offsets funding lost from Creative Europe. Long-term investments from major US studios have secured the UK as a hub for global blockbuster productions. Studios have also invested heavily in expanding their UK studio spaces and filming capacities, promoting high-scale motion picture production.

In 2022, the gross revenue of the filmed entertainment market in the United Kingdom amounted to approximately *****billion British pounds, up from **** million pounds a year earlier. Another source forecast that the UK's filmed entertainment revenue would increase by about ** percent between 2020 and 2025.

In 2021, the United Kingdom's film industry employed approximately *** thousand people, of which more than three-quarters – around ** thousand – worked in movie production and distribution. The film exhibition and distribution segments accounted for ** thousand and ***** thousand of the sector's workforce.

Market Size statistics on the Film, Video & TV Programme Distribution industry in the UK

The performance of the Film, Video and TV Programme Post-Production industry is influenced by demand from key markets, technological developments and competition. Over the five years through 2024-25, industry revenue has grown at a projected compound annual rate of 0.6% to £1.6 billion. Demand for visual effects and the provision of tax credits by the government to the broader film sector has supported post-production studios' performance over the period 2024-25, but the faltering performance of downstream markets like Hollywood films, streaming platforms and TV advertising. Since post-production studios heavily rely on demand from motion pictures and TV production, revenue tanked in 2020-21 amid the pandemic-induced nationwide lockdowns, which included the closures of cinemas across the UK and delayed media productions. Revenue had started to rally back in 2021-22 as the economy reopened and pandemic restrictions eased, but growth was halted as film and TV studios were curbed by dropping consumer spending in the wake of the cost-of-living crisis. With box office revenues stumbling and traditional advertisers shrinking down, two major markets for post-production have faltered. In 2024-25, revenue is projected to expand by 2.5% while profit will reach 6.2%. Over the five years through 2029-30, industry revenue is in line to expand at a compound annual rate of 1.8% to reach £1.7 billion. Funding from Creative Europe has ceased now that the UK has left the EU, to the detriment of the wider film sector. Furthermore, the UK's points-based immigration system will apply pressure to the labour market; a potential skills shortage for post-production firms could inflate wage costs, limiting profit in the industry. Nevertheless, the UK remains a popular location for international film and TV producers, which will continue to prop up the market. Continued technology advancements will create opportunities for new entrants, encouraging new companies to enter this post-production industry.

In 2024, the UK box office revenue was 978.1 million British pounds, a slight decrease in comparison to the previous year's figure of 978.5 million pounds. While the year-to-year change in box office was exceptionally high in 2021 and 2022, following the unprecedented decline in activity in 2020 caused by the pandemic, that return to normal has considerably slowed down since. Frequency & pricing Since the pandemic, the annual number of movie tickets sold across the UK stood below 150 million for the first time in the 21st century. In 2023, the figure increased to 123.62 million. But that is still less than the 176 million tickets sold in 2019, before the coronavirus outbreak. Meanwhile, the average cost of a movie ticket in the UK reached an all-time high in 2023: 7.92 pounds, up from the 7.69-pound average reported the previous year. British blockbusters The highest-grossing film at the box office in the UK in 2023 was "Barbie", the live action adaptation of the famous doll. The British co-production with the United States grossed 87 million pounds at the box office in the UK, more than "Oppenheimer" and "The Super Mario Bros. Movie", which came in second and third positions respectively. When it comes to the commercial success of British movies overseas, however, there is still a long way to go after the pandemic. In 2023, British films grossed approximately 6.1 billion U.S. dollars worldwide, more than four billion dollars less than the 10.3-billion-dollar global box office revenue recorded in 2019.

Cinemas earn their income primarily through box office sales, with blockbuster films being incredibly lucrative, alongside food and beverage sales and screen advertising also offering relatively strong revenue streams. The industry is dominated by the top four chains holding most of the market shares. Non-chain cinemas typically operate within niche sectors of the industry. High cinema admissions and a robust film slate helped UK cinemas grow in recent years. The release of highly anticipated films and the popularity of major film franchises (think the Marvel Cinematic Universe) pushed admission numbers to a high of 176 million in 2019, according to the UK Cinema Association (UKCA). However, over the five years through 2024-25, industry revenue is expected to drop at a compound annual rate of 7.5% to £1.4 billion. The forced closure of cinemas during COVID-19 lockdown periods decimated revenue in 2020-21, with admissions falling by 75% over 2020, according to the UKCA. Despite pent-up demand from people who'd spent months stuck at home and a robust film slate since the full reopening of cinemas in May 2021, admissions haven't rebounded and revenue has remained below pre-pandemic levels. In 2024-25, UK cinemas' revenue is set to swell by 3.1%. Over the five years through 2029-30, industry revenue is forecast to swell at a compound annual rate of 3.3% to £1.6 billion. Continued recovery from COVID-19 closures is set to boost admissions and up spending on cinema visits through extras like snacks and drinks. The screening of alternative content, like live sports and theatre shows, could contribute more revenue in the coming years. Similarly, the popularity of IMAX and 4DX screenings will raise ticket prices, propelling revenue growth. However, subscription video-on-demand service providers will continue to threaten cinemas and the threat of a shorter theatrical window. These trends will hold back cinemas' expansion in the future.

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Movie Production Market Size 2025-2029

The movie production market size is forecast to increase by USD 90.4 billion, at a CAGR of 14.6% between 2024 and 2029.

The market is experiencing significant growth, driven by the increasing popularity of global box offices and the shift towards digital movie screens. This trend is transforming the industry landscape, offering new opportunities for content creators and distributors. However, the market faces a persistent challenge in the form of movie piracy. As more consumers turn to digital platforms for entertainment, the threat of unauthorized content distribution becomes increasingly prominent. To capitalize on market opportunities and navigate challenges effectively, industry players must stay abreast of evolving consumer preferences and invest in robust anti-piracy measures.
The growing popularity of global box offices presents a significant revenue potential, while the transition to digital movie screens opens new distribution channels. However, the looming threat of piracy requires a proactive approach to safeguard intellectual property and maintain consumer trust. Companies that successfully navigate these dynamics will thrive in the dynamic and evolving the market.

What will be the Size of the Movie Production Market during the forecast period?

Explore in-depth regional segment analysis with market size data - historical 2019-2023 and forecasts 2025-2029 - in the full report.
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The market continues to evolve, with dynamic market activities unfolding across various sectors. Critical reception and audience reviews shape the industry's direction, as special effects and production management become increasingly sophisticated. Sound mixers and assistant directors ensure seamless coordination, while set dressing and production design bring visual stories to life. Sound effects libraries and animation software play essential roles, with 3D modeling and digital intermediate techniques shaping the visual landscape. Location scouting and art direction are crucial for authenticity, while streaming services and award nominations expand distribution channels. Costume design and dialogue editing add depth to narratives, with film stock, camera department, and film editing software shaping the cinematic experience.

Production schedule and budget management are ongoing challenges, while film financing and production pipeline optimization remain key priorities. Boom operators and line producers manage logistics, with green screen and motion capture technologies expanding creative possibilities. Camera resolution and aspect ratio choices impact the final product, while film format and studio films cater to diverse audiences. Independent films and documentaries offer unique perspectives, with music scoring and sound design adding emotional depth. Production companies navigate this complex landscape, with genre films, lighting technicians, and stunt coordination adding to the industry's rich tapestry. Frame rate and script breakdowns influence production efficiency, while digital sensors and color grading shape the final look.

The market's continuous dynamism reflects the industry's ongoing commitment to innovation and storytelling.

How is this Movie Production Industry segmented?

The movie production industry research report provides comprehensive data (region-wise segment analysis), with forecasts and estimates in 'USD billion' for the period 2025-2029, as well as historical data from 2019-2023 for the following segments.

Language

  English
  French
  Spanish
  Mandarin
  Others


Genre

  Drama
  Action
  Comedy
  Others


Product

  Movies
  Music
  Videos


Geography

  North America

    US
    Canada


  Europe

    France
    Germany
    Italy
    UK


  APAC

    China
    India
    Japan
    South Korea


  Rest of World (ROW)

.

By Language Insights

The english segment is estimated to witness significant growth during the forecast period.

The market is a dynamic and intricate industry, driven by various entities that collaborate to bring stories to life. Key players, such as Warner Bros and Walt Disney, produce a vast array of English films and television shows, showcasing a rich history spanning over a century. In 2023, these studios expanded their reach with direct-to-consumer (DTC) platforms, adding approximately fifty films and thirty television shows to their collections. The production process involves various departments, including critical reception, production management, and special effects. Sound mixers, assistant directors, set dressing, and production designers contribute to the visual and auditory aspects of filmmaking.

Animation software and 3D modeling are essential tools for creating captivating visual effects, while location scouting and film stock selection influence the look and feel of a production. Film editing sof

The UK Plastic Packaging Films Market report segments the industry into By Type (Polypropylene (PP) (Biaxially Oriented Polypropylene (BOPP), Cast Polypropylene (CPP)), Polyethylene (Low-Density Polyethylene (LDPE), Linear Low-Density Polyethylene (LLDPE)), and more), By End-User Industry (Food, Healthcare, Personal Care & Home Care, and more).

In 2022, the United Kingdom (UK) produced *** feature films, down from 290in the previous year. Meanwhile, the box office revenue generated at cinemas in the UK plateaued between 2023 and 2024. A global player Despite the impact of the COVID-19 pandemic on the overall entertainment sector, the British film industry remains among the leading movie markets worldwide, producing hundreds of films every year. The commercial success of UK's movies also suggest that this continues to be a solid industry. The global box office revenue of British films plummeted by almost ** percent between 2019 and 2020 due to the pandemic. Even though the industry has not fully recovered yet, it generated *** billion U.S. dollars in 2022. Between tragicomedy and reality During the three-year period between 2019 and 2021, the UK produced mostly dramas (*** movies), documentaries (***), and horror movies (**). These were the most recurring genres in the contemporary British filmography. But the blockbusters could more easily be described as mix of themes and tones. In 2020, the top UK film by worldwide box office revenue was "The Gentlemen" – co-produced with the United States – which intertwines action, comedy, and crime. The secon place, "Emma", involves comedy, drama, and romance, like many of Jane Austen's original pieces.

Covers International Transactions of the film and television industry through a variety of formats.

Source agency: Office for National Statistics

Designation: National Statistics

Language: English

Alternative title: International transactions of the UK film and television industries FTV

In 2023, British films grossed around 1.23 billion U.S. dollars at the box office in eight countries across the Asia-Pacific (APAC) region. Approximately 548.6 million dollars were generated in China. Australia and Japan followed with box office revenues of 235.3 million and 177.1 million dollars, respectively. Still, movies made in or co-produced by the United Kingdom accounted for seven percent of China's box office revenue in 2023.

Number of Businesses statistics on the Film, Video & TV Programme Post-Production industry in the UK

Abstract copyright UK Data Service and data collection copyright owner. The British Film Institute (BFI) began the longitudinal TV Industry Tracking Study in 1994 to examine the effects of structural, organisational and technological changes in the TV industry on the careers of individual TV production workers. The BFI has worked in partnership with the University of Cambridge Judge Institute of Management since 1997. The main aims and objectives of this research have been: to collect data through twice yearly diary/questionnaires over a four year period to a panel of 450, and to interview small sub-samples of respondents; to carry out interdisciplinary analysis of the whole dataset in order to: a) analyse the links between individuals' work and life histories, on the one hand, and their labour market and industry environments on the other; b) examine and compare the characteristics, career opportunities, and work attitudes of different age groups; c) document the effects of changing conditions of television production, for instance, the high levels of casualisation and flexibility now required, on TV workers and on their quality of life; d) examine the development and use of skills, experience and knowledge by these workers within different production environments; and consider job searching and recruitment practices; e) analyse individuals' experiences of career development, work culture, team work, creativity, and trust in different work organisations; and investigate their strategies for coping in an increasingly competitive and uncertain television industry environment. These data will also provide useful information about the capacity of the television workforce and its organisations, to sustain and develop programme production range, quality and innovation, and to cope with competition. Main Topics: The BFI Television Industry Tracking Study main dataset contains the responses to the codeable questions set out in one initial questionnaire (Q1) and eight diary/questionnaire waves (D1 to D8) to an initial panel sample of 533 television production workers. The study was conducted between March 1994 and May 1998 with the questionnaires sent out at six monthly intervals. The questionnaires sought information from TV production personnel on their education, training, career history, employment, job searching, work values, and personal life. A range of questions relating to production, creativity and business issues were also asked. Some core questions have been asked at every diary wave, others have been repeated at intervals, some production issues have been considered only once, but in some detail. In each diary/questionnaire (D1 to D8) a section requested information from respondents concerning the six most recent projects that they worked on. Respondents were asked to list details such as the production company, broadcaster, genre, their job roles on the projects, length of time spent on each project etc. The dataset does not include all information asked in the questionnaires (please see note in method of data collection).

These affiliation and adjacency matrices were used to produce the network analysis in the research project “GEP Analysis: Assessing, Understanding, and Modelling the Impact of Gender Equity Policies (GEP) in the Film Industry” (04/2021–03/2024) funded by the joint Open Research Area (ORA 6). It describes UK film creatives working on feature films between 2005 and 2020. We derive our network datasets from the GEP-Analysis key creatives dataset (see Prommer, Radziwill and Ehrich 2023). For a full technical Report describing the production of the network matrices and analysis see Jones, Dadlani and Verhoeven 2024. For the full Project Report see Loist et al (2024).ReferencesJones, Pete, Aresh Dadlani, and Deb Verhoeven. 2024. “The Networks: Technical Report for the GEP Analysis Project.” In Technical Appendix of the Gender Equity Policy (GEP) Analysis Project Report “Re-Framing the Picture”, edited by Skadi Loist and Martha E. Ehrich, 43–66. Potsdam: Film University Babelsberg KONRAD WOLF. https://doi.org/10.60529/394Loist, Skadi, Deb Verhoeven, Doris Ruth Eikhof, Elizabeth Prommer, Martha E. Ehrich, Pete Jones, Kevin Guyan, Amanda Coles, Sophie Radziwill, and Aresh Dadlani. 2024. Re-Framing the Picture: An International Comparative Assessment of Gender Equity Policies in the Film Sector. Full Report Gender Equity Policy (GEP) Analysis Project. Potsdam: Film University Babelsberg KONRAD WOLF. https://doi. org/10.60529/390Prommer, Elizabeth, Sophie Radziwill, and Martha E. Ehrich. 2024. “The Numbers: Technical Report for the GEP Analysis Project.” In Technical Appendix of the Gender Equity Policy (GEP) Analysis Project Report “Re-Framing the Picture”, edited by Skadi Loist and Martha E. Ehrich, 34–42. Potsdam: Film University Babelsberg KONRAD WOLF. https://doi.org/10.60529/393

In 2021, the gross revenue of the filmed entertainment market in the United Kingdom amounted to approximately **** billion British pounds, up from the ****-billion-pound revenue recorded a year earlier. While the turnover of the theatrical subsegment increased to *** million pounds, the revenue of the pay TV market decreased to more than less than *** billion pounds that same year. Meanwhile, the revenue of UK's film industry amounted to ***** billion pounds in 2021.

The slow recovery of British cinemas

Movie theaters across the UK continued to struggle to fully recover their finances after the COVID-19 outbreak. In 2022, the British box office gross amounted to *** million pounds, a sharp increase in comparison to the previous year. Yet the figure still was under the ****-billion-pound box office revenue recorded in 2019. Similarly, the number of movie tickets sold in the UK grew in 2022, standing above *** million. But that amounted to about ** million admissions less than recorded in 2019.

A movie star on the global stage

Despite the slow recovery, the UK remains a solid film market. In 2021, it recorded the fourth biggest box office revenue worldwide, at around *** million dollars, tying with France. The British cinema industry is also one of the pillars of an even larger market: Europe, the Middle East, and Africa (EMEA). Since the pandemic, that region's box office gross surpassed the United States and Canada, collectively known as the North American movie market. That was the first time this happened since 2014.

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Employment statistics on the Film, Video & TV Programme Post-Production industry in the UK