Official figures from the BFI’s Research and Statistics Unit show that film and high-end TV production spend in the UK was £6.8 billion in 2025, a 22 per cent increase on 2024’s first reported figures, demonstrating the sector has regained solid momentum.
The majority of the total £6.8 billion production spend was contributed by High End TV (HETV), which accounted for £4 billion (59 per cent of the total spend), which is up 17 per cent on 2024 figures and the third highest since the introduction of the UK's tax relief on productions of this type.
Feature film production contributed £2.8 billion (41 per cent of the total spend) which is up 31 per cent on 2024 figures, and the highest annual spend on record.
Inward investment films and HETV shows combined delivered £5.8 billion, or 85 per cent of the combined production spend, continuing to demonstrate the UK’s global reputation as a world-leading centre for international film and TV production.
www.thecreativeindustries.co.uk/site-content/production-spend-on-big-budget-uk-film-and-tv-projects-up-22
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Good for UK crews and facilities! It does look like most of that spending is inward investment but that could always mean more opportunities for emerging writers.
Sam Rivera Yes indeed great for the UK production industry. As you mention as well opportunities for UK screenwriters and directors. Collaborating with local talent is important for inbound productions to access funding which the UK has numerous platforms for.
Fantastic that its incoming but seeing very little support for filmmakers based in UK actually raising finance.
It’s Britnattery investing in its survival. If you’ve written a UK Union piece, congrats. It would be remiss of me to call it propaganda as many great pieces are written - but that’s where the focussed money is coming from.
Jack Binder Those numbers are really impressive especially the growth in both HETV and feature films. It clearly shows the UK is still a major global hub for production.
What stands out to me is how much of that spend is driven by inward investment. It’s great for the industry overall, but it also makes me wonder how accessible that momentum is for emerging local writers trying to break in.
Curious do you think this growth will translate into more opportunities for new voices, or will it mostly continue to benefit large-scale international productions?
Russell Gow That’s a really important point. There’s a lot of conversation around financing models, but the practical access to that funding especially for UK-based filmmakers, still feels quite limited.
It often seems like understanding the system is one thing, but actually getting through the door is a completely different challenge.
Curious, have you found any routes that are working right now, or does it still feel pretty closed off from your side?