Diversity, equity and inclusion

Since May 2021, we have ringfenced 30% of our total grant spend for Black and Global Majority beneficiaries. Following on from this, in December 2021, it was announced that we would also ringfence 15% for Disabled beneficiaries and would review whether to ringfence for other groups in future.

The grants we are currently referring to below are our Stop-Gap Grant, available for industry workers experiencing urgent financial need, and our Sir Horace Ové Grant, available to Black and Global Majority workers to help with access to opportunities to further their careers. 

Grants for Black and Global Majority applicants

For the financial year 2024-25, our performance against our stated targets was as follows:

• During the financial year 24/25 we awarded more than £275k in grants via our Stop-Gap Grants and the Sir Horace Ové Fund
• Where race was known, 35% of all awards were made to Black and Global Majority applicants with the total amount paid being £85,435 or 33% of the total value*, meeting our commitment of 30%

The Sir Horace Ové fund was launched in November 2022 with an initial aim of utilising funds that were underspent on Black and Global Majority applicants from the previous financial year. The fund provides Black and Global Majority applicants with:

• Contributions towards upgrading out-of-date equipment that is creating barriers to accessing work
• Contributions towards course fees
• Contributions towards travel where wages are in arrears
• Care contributions
• Contributions towards membership and affiliation costs.

The Sir Horace Ové fund was awarded to 80 applicants between April 2024 and March 2025, to the value of £25,718.

Grants for Disabled applicants

Where disability was known:

• 35% of the awards from 24/25 were made to Disabled applicants with the total amount paid being £82,182 (or 34% of the total value), exceeding our commitment of 15%)

We will update this page to reflect the financial year 2025-26 from April 2026.

In 2021, we committed to investing £1m through our Impact Partnership Programme to develop support, resources, and access for Black and Global Majority industry workers, contributing to the creation of an inclusive, equitable, anti-racist industry where creatives can thrive.

We believed that the expertise, insights, and lived experiences needed to drive anti-racism exists within Black and Global Majority communities. So we worked in partnership with those communities to bring together industry experts, anti-racism advocates, corporations and organisations representing Black and Global Majority industry workers and stakeholders to find the most effective way to drive sustainable change.

We recruited a panel of 16 people, across a diverse mix of roles, levels, backgrounds, and sectors providing a balanced representation of skills and experiences from across the industry. This co-design panel worked with us to determine how best to allocate our £1m investment and Reel Impact was created as a result.

We identified new targets to increase the representation of people identifying as from the Black and Global Majority on the charity’s Board of Trustees and across the team.

We have set diversity targets for the Trustees and staff of the charity as follows:

Black, Asian and minority ethnic

• UK population (ONS 2011 Census) - 14% (2011 Census baseline used when setting targets; 2021 Census data shows this has increased to around 18%)
• Industry benchmark (ScreenSkills Annual Assessment 2019) - 10%
• Film and TV Charity End 2022 Target - 30% Trustees, 13% staff (including at least 2 staff in a senior position)
• Film and TV Charity End 2024 Target - 30% Trustees, 20% staff (including at least 3 staff in a senior position)
• Update (Feb 2026) – 21% of staff identify as Black, Asian or from a minority ethnic background (up from 15% in 2025;  against a 2030 target  of 30%)
• Update (Feb 2026- 45% of trustees identify as Black, Asian or from a minority ethnic background (exceeding 2030 target of 30%)
• Film and TV Charity End 2030 Target - At least 30% Trustees and staff

Disabled

• UK population (ONS 2011 Census) - 16% (2011 Census baseline used when setting targets; 2021 Census data indicated this is now around 17.5%)
• Industry benchmark (ScreenSkills Annual Assessment 2019) - 10%
• Film and TV Charity End 2022 Target - 35% Trustees
• Film and TV Charity End 2024 Target - 15% Trustees and staff (including at least 2 staff in a senior position)
• Update (Feb 2026) – 10% of staff identify as Disabled (down from 11% in 2025;  below the 2024 target of 15%)
• Update (Feb 2026) – 18% of trustees identify as Disabled (above the 2024 target of 15%)
• Film and TV Charity End 2030 Target - continuing

LGBTQ+

• UK population - 7%
• Industry benchmark (ScreenSkills Annual Assessment 2019) - 12%
• Film and TV Charity End 2024 Target - 15% Trustees and staff (including at least 2 staff in a senior position)
• Update (Feb 2026) – 20% of staff identify as LGBTQ+ (down from 26% in 2025;  exceeding the 2024 target of 15%)
• Update (Feb 2026) – 18% of trustees identify as LGBTQ+ (above the 2024 target of 15%)
• Film and TV Charity End 2030 Target – continuing

Gender

• UK population (ONS Census) – 51% female (2011 Census baseline used when setting targets; 2021 Census data shows a broadly similar split across the working-age population)
• Industry benchmark (ScreenSkills Annual Assessment 2019) – 62% male
• Film and TV Charity End 2024 Target – improve gender balance across Trustees and staff
• Update (Feb 2026) – 40% of staff identify as male (up from 37% in 2025; showing movement towards improved balance)
• Update (Feb 2026) – [36 %] of trustees identify as male
• Film and TV Charity End 2030 Target – continuing

Out of London

• UK population (ONS 2011 Census) - 86%
• Industry benchmark (ScreenSkills Annual Assessment 2019) - 51%
• Film and TV Charity End 2024 Target - 25% Trustees and staff
• Film and TV Charity End 2030 Target - continuing
• Update (2026) we are no longer setting a fixed target for roles based outside London

Notes on the targets

• Senior staff are defined as those at Head of Department level or above.
• The Charity is based in London and the industry remains disproportionately within London, but we serve the whole of the UK, we recognise that setting a fixed target roles based outside of London is not the most effective way to increase our reach and impact. Instead, we are shifting our focus towards strengthening our outreach, engagement and support for people working across the UK. This approach enables us to better reflect the communities we serve, without relying on geographical workforce targets that are not aligned with our current structure.
• Comparing the data in the Policy and Evidence Centre’s recent report into class in the creative industries our organisation significantly over-indexes for staff from a privileged background (76% versus 51% for the industry and 37% for the UK economy), and under-indexes for those from a working class background (10% versus 16% for the industry versus 29% for the economy as a whole). We recognise that class is an important dimension which intersects with other dimensions of diversity and will strive to improve our class profile as we also strive to improve on all other dimensions.
• Beyond this we note the need to work towards a gender balance of the Charity’s staff which currently significantly over-indexes for women (while the UK population is 51% female and the industry 38% female, 60% of the current Charity staff identifies as female). We will therefore seek to rebalance the gender profile of the Charity by 2030).