Stephanie Horsman Senior Film Judge 2025 We’re thrilled to welcome Stephanie Horsman to the Bournemouth International Film Festival as our Senior Judge – Film! Stephanie’s career in entertainment began in the early 1990s, shortly after earning degrees in International Relations and Broadcasting from California Polytechnic State University in San Luis Obispo. Returning to Los Angeles, she quickly rose from assistant to writer-producer at an independent production company, where she worked on several television series for major networks. Her creative versatility soon led her to Paramount’s Los Angeles television affiliate, where she contributed to the on-air promotions department, and later to Another Large Production, an independent company where she wrote, produced, and edited campaigns for network series as well as long-form projects for studios including Columbia Tri-Star. In 2001, Stephanie relocated to New York City, working as a freelancer on promotional, advertising, and corporate projects. She also collaborated on Grand Classics, a trans-Atlantic charity film series. Three years later, she moved to France, where she balanced raising her daughter with a new creative pursuit: screenwriting. Over several years, she completed five screenplays and helped develop a proposed television series set in Monaco. Since settling in the UK, Stephanie has continued to expand her creative path as a writer and producer with her business partner at their film company, Crimson Firefly Productions, while also cultivating a parallel career as a Thai yoga massage therapist and instructor. Her journey reflects a rare blend of storytelling, cross-cultural experience, and a passion for both artistic and personal transformation. People-arrows Buy Your Tickets Today! Submit via CenterFrame All Posts BIFF Judges Stephanie Horsman Joins BIFF September 23, 2025/ Stephanie Horsman Senior Film Judge 2025 We’re thrilled to welcome Stephanie Horsman to the Bournemouth International Film Festival as our… Read More Alice D. Cooper Joins BIFF July 2, 2025/ Alice D. Cooper Joins BIFF Senior Film Judge 2025 We’re thrilled to welcome Alice D. Cooper to the Bournemouth International Film… Read More Kathryn Carmichael Joins BIFF June 30, 2025/ Kathryn Carmichael Joins BIFF Senior Film Judge 2025 We’re thrilled to welcome Kathryn Carmichael to the Bournemouth International Film Festival… Read More Load More End of Content.
Discover the Films of BIFF 2025 Below you’ll find the official posters for every film screening at this year’s festival. From shorts to features, local stories to international premieres, this gallery is your first look at the diverse projects lighting up Bournemouth on October 3rd & 4th.
The inaugural Bournemouth International Film Festival is opening with a bang — and with The Hook. This darkly comic whirlwind about a dysfunctional family band is making its world premiere on the South Coast, setting the tone for two days of screenings, talks and celebration of new voices in cinema. Directed by Thomas David Beatty in his feature debut, The Hook tackles themes of ambition, addiction and the fragility of success in the music industry, blending biting humour with raw emotion. With an impressive cast that includes Elijah Rowen (Vikings, Curfew), Jack McEvoy (Vikings, Ripper Street), and Mei Bignall (Penny Dreadful), the film promises to strike a chord with audiences. Ahead of their big night, we caught up with Beatty and Rowen to talk about the journey behind the film, the challenges of balancing comedy and tragedy, and what it means to open a brand new festival in Bournemouth. 1. The Hook is not only having its world premiere here in Bournemouth, but also opening the festival. How does it feel to be the film that sets the tone for the very first BIFF? Elijah: — Bournemouth’s coastal. Since I was a kid I loved the coast; it has always meant change, new tides coming in. I believe in magical signs, cosmic rhymes… The welcome we’ve had here; it’s put a bit of love back in me. Feels good. Tommy: Completely agree with Elijah. Honestly, we couldn’t be happier. It came as a welcome surprise to the team and me. Especially with it being the very first year of the festival, it means even more. 2. The film dives into themes of ambition, addiction, and family dysfunction through the lens of dark comedy. What drew you to this subject matter, and why did you feel now was the right time to tell this story? Tommy: I naturally gravitate toward darker subject matter, even in comedy. The themes are close to me. I think it’s important to be ambitious, but for the right reasons. It feels like the right time because so many creative industries are at a crossroads right now. 3. Much of the film centres on a family band racing to write a hit in just 24 hours. Was that high-stakes, pressure-cooker environment something you always wanted to capture on screen? Tommy: The original concept came from Charlie Freeman, Jack McEvoy, and Elijah Rowen. They approached me with it, and I think the time constraints we faced while shooting the film actually mirrored the central point of a family band trying to write a song in 24 hours. 4. You chose JBJ Recording Studio on Portobello Road as a location, which has an incredible musical history. How important was that real-world setting to the authenticity of the film? Tommy: We couldn’t have made the movie without the studio. The space has such a strong energy as soon as you walk in. It’s crazy to think of the artists who’ve recorded there. We were beyond fortunate to shoot in such a unique location. 5. You have a cast with strong television and film credits – from Vikings to Penny Dreadful to Bridgerton. What did those performers bring that shaped the film in ways you might not have expected? Tommy: They really went for it. It’s a bizarre film in parts, but there was very little questioning of the world itself from the actors. That’s a testament to their professionalism and the trust they placed in me. 6. Thomas, this is your directorial debut after years working across stage and screen. What was the steepest learning curve moving into the director’s chair? Tommy: The sheer number of questions you’re asked. You have to have the answer—and the right answer at that. The clearer you are about what you’re doing, or at least trying to do, the more people are willing to give of themselves. 7. Music is at the heart of The Hook. How did you approach blending the film’s score and soundtrack with the story of fading stardom and creative burnout? Tommy: I was fortunate to know some incredible artists. Stereo Cupid, Sounds Mint, and Stone all added so much contemporary weight to the soundtrack. And of course, Gavin Friday’s “Lord I’m Coming” was a dream—it perfectly captures that cry to something bigger. Everything was pieced together and elevated by Ollie de Wailly, who is a real musical 8. Dark comedy often walks a fine line between humour and tragedy. How did you find the balance, especially when dealing with issues like addiction and mental health? Tommy: These are big issues, of course, but ignoring them—or not poking fun at them—almost makes them bigger. For me I enjoy seeing audiences laugh at the darkest parts and cry at the funniest. I’ll borrow from someone wiser than me—Chaplin: “Life is a tragedy when seen in close-up, but a comedy in long-shot.” 9. The Hook explores the cost of chasing success. Do you see parallels with your own journey as filmmakers breaking into an industry that’s notoriously tough to crack? I remember McEvoy saying, after the final edit, “We have an extraordinary journey ahead.”I wanted to believe him. I did. But in this business… it isn’t only what you believe. It’s whether others believe in you. That’s what opens the doors. That’s what makes the journey happen. Tommy: We both see the parallels, and try to steer clear of them. As you say, it’s tough, and it really is a journey—but it’s one we signed up for a long time ago. We’re very lucky to be able to do it. 10. Finally, what do you hope the Bournemouth audience takes away from The Hook, and what’s next for the film after its world premiere? Elijah: I believe in immersion. Acting..living.. It’s the same thing. This film gave me plenty. Left me thinking. I hope the audience feels a touch of that. And that said audience grows. Tommy: Above all, I hope the audience enjoys it. It’s a film made for people to let loose
Christopher Eccleston named as patron of new Bournemouth film festival Former ‘Doctor Who’ star Christopher Eccleston has been announced as the festival patron for the upcoming Bournemouth International Film Festival (BIFF). BIFF is a new festival taking place on Friday 3 and Saturday 4 October at the Hilton Bournemouth in Terrace Road. It will showcase and celebrate films from a mixture of emerging talent and established filmmakers, whilst providing networking opportunities and workshops for those interested in working in the film industry. With a career spanning over three decades across television, film and theatre, Eccleston is one of the UK’s most respected and recognisable acting talents. As well as being Ninth Doctor in ‘Doctor Who’, he is known for his work in ‘Our Friends in the North’, ‘Shallow Grave’, and ‘The Leftovers’. Festival Director Steve McCarten said: “Christopher’s support sends a powerful message about the role of regional festivals in shaping the future of British storytelling. His work consistently champions bold, socially conscious narratives and that aligns perfectly with what we’re building at BIFF.” The festival will feature film screenings, industry-led panels and workshops, and a black-tie awards night. The festival is a not-for-profit initiative designed to empower emerging talent and build creative opportunities for communities across Bournemouth, Christchurch, Poole and beyond. Tickets for BIFF 2025 are now available. For more information and tickets, go to Get Tickets. Buy Your Tickets Today! Submit via CenterFrame All Posts BIFF Judges Commercial Partner Editorial Hospitality Partner News Venue Partner Doctor Who actor named as patron of new Bournemouth film festival September 17, 2025/ Christopher Eccleston named as patron of new Bournemouth film festival Former ‘Doctor Who’ star Christopher Eccleston has been announced as… Read More Why Some Films Just Feel Better on a Big Screen July 7, 2025/ Why Some Films Just Feel Better on a Big Screen In the world of film festivals, the word “programmer” might… Read More What the Return of Costa Rica’s Film Festival Tells Us About Resilience and Reinvention July 7, 2025/ What the Return of Costa Rica’s Film Festival Tells Us About Resilience — and Reinvention As the Costa Rica International… Read More Load More End of Content.
Why Some Films Just Feel Better on a Big Screen In the world of film festivals, the word “programmer” might not sound as glamorous as “director” or “producer,” but it’s the heartbeat of everything an audience sees. Every slot, pairing, and surprise moment is the result of thoughtful, deliberate curation. At BIFF, programming isn’t just about picking “the best” films. It’s about shaping an experience. And as we prepare for our very first edition, we’re making choices that reflect not just taste, but values. We’ve all done it, watched something beautiful on our phones while distracted by another tab. Or streamed a film late at night while half-scrolling Instagram. That’s modern life. But it’s also a reminder of what we lose when we stop watching with intention. Some films simply feel better on a big screen. And it’s not just about visuals. It’s about presence. The Screen Isn’t Just a Surface. It’s a Space. There’s a reason cinematographers still talk about “frame” like it’s a sacred word. The size of the image affects how we relate to a story. A vast landscape or a tight close-up lands differently in a cinema. It pulls you in. It silences everything else. The distractions, the notifications, the self-consciousness gone. That experience changes not just what we see, but how we feel it. “Some films don’t translate to small screens. And that’s not a technical failure. It’s a deliberate intention.” Steve McCarten, Festival Director We want people to come out of a BIFF screening and immediately talk about what they saw, not because it was loud, but because it landed. Curation as a Creative Act It’s Also About Who You’re Watching With The other part of the magic is the crowd. Whether it’s 30 people or 300, something happens when we experience a film together. Laughter lands differently. Stillness feels heavier. Even silence feels charged. It’s a collective emotional contract. A moment where strangers sync up and share something wordlessly. That’s hard to find in most parts of life now. And that’s what we’re bringing back at BIFF. We’re Curating With the Room in Mind Some films belong on the big screen not because they’re big but because they’re delicate. Because they deserve your full attention. Because they risk subtlety. Because they speak slowly and expect you to listen. Those are the kinds of films we’re building our programme around. Some will be bold, others intimate. But all of them are chosen because we believe they give you something you can’t get anywhere else, especially not alone, on your phone, between emails. This festival isn’t about nostalgia. It’s about reclaiming the act of watching as something active. Intentional. Collective. “A great screening isn’t about pixels. It’s about presence.” Steve McCarten So yes, some films do feel better on a big screen. Not because they’re better. But because we are. Buy Your Tickets Today! Submit via CenterFrame All Posts BIFF Judges Commercial Partner Editorial Hospitality Partner News Venue Partner Doctor Who actor named as patron of new Bournemouth film festival September 17, 2025/ Christopher Eccleston named as patron of new Bournemouth film festival Former ‘Doctor Who’ star Christopher Eccleston has been announced as… Read More Why Some Films Just Feel Better on a Big Screen July 7, 2025/ Why Some Films Just Feel Better on a Big Screen In the world of film festivals, the word “programmer” might… Read More What the Return of Costa Rica’s Film Festival Tells Us About Resilience and Reinvention July 7, 2025/ What the Return of Costa Rica’s Film Festival Tells Us About Resilience — and Reinvention As the Costa Rica International… Read More Load More End of Content.
