HARRY POTTER

Contemporary British Cinema: 2000 – present day

Since the turn of the century, British cinema has achieved great success in international distribution, and many contemporary releases, such as the HARRY POTTER series (2001-present), have been financially backed by American studios.

Romantic comedies such as the BRIDGET JONES films (2001 and 2004) and Richard Curtis’ LOVE ACTUALLY (2003) have achieved vast audience popularity; prestige has also been awarded by critically acclaimed releases from PRIDE AND PREJUDICE (Joe Wright, 2005) to THE LAST KING OF SCOTLAND (Kevin Macdonald, 2006).

At the same time, low-budget successes such as 28 DAYS LATER… (Danny Boyle, 2002) and THE DESCENT (Neil Marshall, 2005) have prompted a resurgence in British horror.

Veteran directors such as Stephen Frears (DIRTY PRETTY THINGS, 2002), Mike Leigh (VERA DRAKE, 2004), and Ken Loach (the Irish historical epic THE WIND THAT SHAKES THE BARLEY, 2006) have continued to work, and a range of new names has also achieved recognition, including Stephen Daldry (BILLY ELLIOT, 2000), Michael Winterbottom (24 HOUR PARTY PEOPLE, 2002) Paul Greengrass (THE BOURNE SUPREMACY, 2004), Shane Meadows (THIS IS ENGLAND, 2006).

SLUMDOG MILLIONAIRE

It’s raining Oscars

Danny Boyle has also achieved international acclaim with the 2008 release SLUMDOG MILLIONAIRE, the first entirely-British financed film since Laurence Olivier’s HAMLET to win the Best Picture Academy Award.

Scottish cinema has also capitalized upon the bourgeoning popularity of British horror in recent years; the retro-styled werewolf film DOG SOLDIERS (Neil Marshall, 2002) is currently anticipating a sequel. The cinema industry of Wales has continued to develop since the turn of the century; numerous Welsh-language films have been released, including ELDRA (Timothy Lyn, 2002), and the country’s cultural heritage is still being celebrated by productions such as the Dylan Thomas biography THE EDGE OF LOVE (Jon Maybury, 2008).

Irish cinema has retained its concerns with history, national identity and the struggles of the impoverished; as has been reflected during this era by releases such as THE MADGALENE SISTERS (Peter Mullan, 2002) and SONG FOR A RAGGY BOY (Aisling Walsh, 2003). During 2006, directors John Boorman and Neil Jordan returned to their home country to make THE TIGERS TAIL and BREAKFAST ON PLUTO respectively; and the low-budget musical ONCE (John Carney, 2006) achieved great success at the Sundance Film Festival. Reflecting the earliest themes of Irish cinema, the immigrant experience has continued to be a source of inspiration. Jim Sheridan’s Academy Award-nominated IN AMERICA (2002) depicted an Irish family traveling to New York, but the narratives of immigrants to Ireland have also been examined by releases such as the short comedy YU MING IS ANIM DOM (Daniel O’Hara, 2003) which dramatizes the life of a Chinese shop worker attempting to learn Irish.

Throughout its history, British and Irish cinema has continued to diversify and to provide an expression for indigenous voices, cherishing their cultural congruities and contrasts. As more accessible technology provides greater film-making opportunity than ever before, it may be expected that the variety of British and Irish indigenous cinema will continue to entertain audiences both at home and abroad in the subsequent years.

As is celebrated at the britspotting festival, British and Irish cinema becomes ever more ambitious in its aspirations, and yet retains the characteristic concern with the experience of everyday citizens by which this phenomenon has been characterised since its nascence.