As actor Mark Lewis Jones’ latest film Portraits of Dangerous Women hit cinema screens on October 11th 2024, he’s also is preparing to receive the BAFTA Cymru 2024 Siân Phillips Award. Across his 38-year acting career, he’s starred in a host of critically-acclaimed films and television dramas. To celebrate this achievement, we’ve curated a list of some of Mark’s films from our Made in Wales catalogue.
To see Mark’s full filmography and TV credits, click here.
Bob tro y byddwch yn gwylio ffilm ar sgrin fawr, mae tîm o bobl yn gweithio'n galed y tu ôl i'r llenni i sicrhau eich bod yn cael y profiad gorau. Eleni, byddwn yn eich cyflwyno i'r bobl y tu ôl i'n prosiectau a ariennir – ffigurau cudd arddangosfa ffilm yng Nghymru. O gyfarwyddwyr prosiect i guraduron ac arbenigwyr marchnata sydd i gyd yn rhoi cynhwysiant wrth wraidd eu gweithgareddau arddangos...
Sheffield DocFest is the UK’s leading documentary festival and one of the world’s most influential markets for documentary projects. They champion and present the breadth of documentary form – film, television, immersive and art – in the vibrant city of Sheffield each June (www.sheffdocfest.com).
Paul of Sol Cinema was hoping to meet filmmakers and event organisers who may be interested in using the Sol Cinema in their events, whilst also attending workshops and films that will allow him to find ways to promote his mobile cinema. Here’s what Paul told us about his festival experience:
“Docfest brought together filmmakers from across the world which I enjoyed sharing experiences, and ways of working. I was inspired by hearing about different ways of doing things. I was exposed to new technology which I will hopefully involve in my own work. Podcasts workshops and premieres really interested myself and many other attendees so this could be a new avenue for my productions. The answer from all the funding panels stated that funding is virtually non existent for films, so there is a real need to think completely differently.”
I met potential new bookings for my mobile cinema, learned more about the state of the industry, got inspired, saw new ways of making documentaries.
“I have been sent new films from people I met [at the networking events after] showing my mobile cinema. I attended a VR workshop and will be exploring new options around that. I was impressed with the software Docfest used for including live audio translations at each panel discussion. I shall explore about including that in future events.”
Paul attended the Sheffield DocFest with the support of Film Hub Wales via our Bursary scheme. If you want to attend a meeting, course or event that would benefit your organisation and develop audiences but the costs are prohibitive, you can submit an application for support here.
Diweddariad gan y Rheolwr, Hana Lewis
Hoffwn gychwyn drwy ddiolch i bob un ohonoch am roi o’ch amser i fynych cyfarfodydd a chwblhau holiaduron yn ystod 2022, wrth i’r BFI ddatblygu eu strategaeth, Screen 2023. Mae’r ffaith ein bod ni wedi dod ynghyd gyda’r un nod o gefnogi arddangos ffilm yng Nghymru yn destun balchder i ni ac rydym wir yn gwerthfawrogi eich amser.
Bydd nifer ohonoch wedi clywed y cyhoeddiad diweddar gan y BFI bod Rhwydwaith Cynulleidfa Ffilm y BFI yn mynd i barhau tu hwnt i Ebrill 2023, fel rhan o’u Strategaeth 10 mlynedd Cyllid Loteri Genedlaethol. Mae’n bleser gen i rannu bod Film Hub Wales, gyda Chapter fel Sefydliad Arweiniol, yn un o 11 o bartneriaid strategol ledled y DU i dderbyn cyllid Loteri Genedlaethol gan y BFI i barhau i ddatblygu cynulleidfaoedd sinema ar gyfer ffilm annibynnol o’r DU a ffilm rhyngwladol.
Beth mae hyn yn ei olygu i Gymru? Bydd Canolfan Ffilm Cymru yn derbyn £895,500 dros dair blynedd (£286,900 bob blwyddyn). Bydd yr arian yn cael ei rannu rhwng datblygu sgiliau, ymchwil cynulleidfa, cyfathrebu, prosiect ‘sbotolau’ newydd a’r gronfa arddangos ffilm – a fydd yn cael ei ail lansio yn hwyr ym mis Mawrth / yn gynnar ym mis Ebrill. Bydd y bwrsari hyfforddi a’r potyn llain yn parhau i fod yn agored drwy gydol y flwyddyn, gyda chyllideb newydd ym mis Ebrill.
Rydym yn gwneud rhai newidiadau i’n rhaglenni yn seiliedig ar yr hyn ddwedoch wrthym yn ystod y cyfnod ymgynghori a’r heriau sy’n wynebu’r sector arddangos. Rydym yn bwriadu cynnal sesiynau rhaglennu ar-lein bob chwarter er mwyn cael cyfle i sgwrsio am y ffilmiau diweddaraf. Rydym yn bwriadu dod at ein gilydd yn fwy aml, gan gynnwys digwyddiad blynyddol lle gallwn rannu syniadau. Yn ogystal, rydym yn siarad ag Archif Sgrin a Sain Cymru ynglŷn â mynediad at gynnwys Cymraeg ac yn archwilio beth fyddai costau digideiddio teitlau allweddol.
Mae ein prosiect Gwnaethpwyd yng Nghymru (sy’n dathlu ffilmiau gyda chysylltiad Cymreig) yn cael ei gyllido tan 31 Mawrth 2023 ar hyn o bryd. Rydym wrthi’n gweithio ar gynllun cyllido ar gyfer y dyfodol, gyda ffilmiau megis Being Hijra a London Recruits yn ein calendr. Byddwn hefyd yn cydweithio â’n partneriaid Ffilm Cymru Wales / BFI Network Cymru i gefnogi gwneuthurwyr ffilmiau newydd ledled y DU.ain 2023 ar hyn o bryd. Rydym wrthi’n gweithio ar gynllun cyllido ar gyfer y dyfodol, gyda ffilmiau megis Being Hijra a London Recruits yn ein calendr. Byddwn hefyd yn cydweithio â’n partneriaid Ffilm Cymru Wales / BFI Network Cymru i gefnogi gwneuthurwyr ffilmiau newydd ledled y DU.
Byddwn yn cydweithio â BFI Film Academy Plus, sydd newydd ei gyhoeddi fel y cynnig addysgiadol mewn canolfannau ledled y DU, a fydd yn helpu’r rheiny sydd rhwng 16 a 25 mlwydd oed i ffilmio llwybrau gyrfa a diwylliant. Bydd y cynnig yn cael ei redeg yng Nghymru gan Chapter a bydd cyllideb yn cefnogi dosbarthiadau meistr, dangosiadau a bwrsarïau. Bydd y cynllun yn helpu ffans ffilm ifanc i ddysgu am y diwydiant, gwylio sinema ddiwylliannol, dod i adnabod eu canolfannau lleol a datblygu sgiliau fel gwneuthurwyr ffilmiau a churaduron annibynnol.
Bydd rhagor o weithgareddau ar draws y Rhwydwaith Cynulleidfa Ffilm ehangach – byddwn yn trafod y rhain yn yr wythnosau nesaf wrth i’r cynlluniau cael eu sefydlu.
Yn olaf, mae’n flin gennym gyhoeddi bod prosiect RhCFf Sinema Cynhwysol (SC) yn dod i ben ym mis Mawrth. Mae gymaint o waith yn dal i’w wneud, ond rydyn ni’n falch iawn o’n huchelgais a’n cyfraniadau. Hoffem ddweud diolch o galon i bartneriaid a chynghorwyr SC. Rydym yn ffarwelio â Toki Allison, Rheolwr Prosiect talentog SC, wrth iddi symud ymlaen i rôl newydd gyffrous. Yn ystod wythnosau olaf y prosiect beth am achub ar y cyfle i ddefnyddio adnoddau newydd ardderchog, gan gynnwys Trans Loving Care a sinema Dosbarth-Gweithiol. Byddwn yn rhoi diweddariad dros y misoedd nesaf ynglŷn â sut i gael mynediad at yr adnoddau a grëwyd dros gyfnod y prosiect.
Rydyn ni’n gobeithio’n fawr y bydd modd i chi ymuno â ni yn Hub Helo yng Nghastell y Gelli, 23ydd Mawrth, lle byddwn yn siarad am y flwyddyn i ddod.
Tan hynny – sinema am byth!
IYMS is an annual two-week event that brings together young people from different cultures to create media projects aimed at inspiring their own generation to take action and responsibility for the future. By confronting and examining global problems and exploring solutions together, they are bound in a shared purpose. Working toward a common goal and being accountable for a concrete creative product within a limited time period provides the perfect “stew” for collaboration. Here’s what Dion told us about the trip:
Attending IYMS was an eye-opening experience that broadened my mind about what we can do in Wales. While the primary basis of the summit is to empower change through filmmaking, it also gives you opportunities to meet like-minded programmers, activists and filmmakers from all across the globe.
Throughout a fortnight, the challenge was to create a PSA (Public Service Announcement) over seven topics the IYMS wanted to eradicate in the world through diplomacy and film. They are youth empowerment, environment, violence, women’s rights, poverty, health and discrimination. Each group were split into young filmmakers, young diplomats and advisors who all worked together to create a short film about their subject matter with the help of their mentor who worked within the assigned fields. By the end of the summit, they would have a completed film that will be shared with international audiences at film festivals, on YouTube and through their partners, including UNESCO.
There are various ways to encourage and embrace heritage, language and culture, from Afghanistan to Nepal to Norway. Each day there were numerous opportunities to hear about different nations, how they promote their countries’ work, and the best models to exhibit the films. While many have expressed their frustrations about funding and sharing their voices globally, the summit allows you to develop and work on further collaborations beyond the two-week summit.
One of the main reasons Wicked Wales wanted to attend the summit was to engage with more young people. As they were the ones making the films and making positive changes in their communities, it was an enlightening experience. Hearing about the various programs they work on and their viewing habits benefited us as an organisation and for Wales as a whole. The diversity of delegates gave a fresh perspective on what works well for us and where we can improve and further diversity and inclusion in our sector.
The main takeaway from IYMS is the importance of international collaboration and working with organisations to improve our methods and share our own practices from Wales. We can learn so much from one another, and Wicked Wales has already begun a dialogue with partners in Sweden and Nepal on how we can collaborate further. Fortunately, through social media, we can now stay in touch with some of the great film societies we connected with and keep an eye on the ideas and programming that they’re doing. We hadn’t looked further afield until now, so I think this will benefit us when determining our own programme and events.
Attending IYMS was an eye-opening experience that broadened my mind about what we can do in Wales. While the primary basis of the summit is to empower change through filmmaking, it also gives you opportunities to meet like-minded programmers, activists and filmmakers from all across the globe. – Dion Wyn Hughes
Dion attended the International Youth Media Summit with the support of Film Hub Wales via our Bursary scheme. If you want to attend a meeting, course or event that would benefit your organisation and develop audiences but the costs are prohibitive, you can submit an application for support here.
I ddathlu ''Mis Hanes Menywod'’ the Film Hub Wales team are excited to bring you a selection of Welsh films by, featuring or about Welsh women. Among them are some names you might of heard of and some that are breaking onto the scene. From dramas, to documentaries and sci-fi, the cultural landscape of Wales becomes even more exciting this year thanks to the talents of these Welsh women delivering interesting, new narratives.
Mae'r rhestr hon wedi'i llunio fel rhan o Gwnaethpwyd yng Nghymru – a Film Hub Wales strategy that supports exhibitors and focuses on highlighting films and filmmakers with Welsh connections. Find out more about how we support filmmakers and distributors.
Sara Sugarman was born in Rhyl, Denbighshire, Wales. She is an actress and director, known for Sid and Nancy (1986), Very Annie Mary (2001), Disney‘s Confessions of a Teenage Drama Queen (2004) and Vinyl (2012). In 1994 she won a place at Bournemouth Film School, scripted and directed three short films, nominated for a BAFTA, BAFTA CYMRU and won twenty three International film festivals.
When was the first time you realised you wanted to make films?
I sent away for a super 8 kit from the classified section of my dad’s newspaper when I was 11. It was plastic. I still have the camera and it was so so exciting! I wanted to remake JAWS on Rhyl beach and this was the time I realised I could make my imagination have a place telling stories.
What was the last project you worked on / made?
Just finished shooting SAVE THE CINEMA for Sky cinema.
What are you up to now? What is the next project you’re working on?
I am editing the film now. I feel very lucky in a time of a pandemic to be making a movie.
Producer, writer and former co-director of Gaucho production company. Producer of award winning feature films One Full Moon, Leaving Lenin a The Making of Maps. Multi BAFTA award winner as producer of numerous TV drama series & film. Mentor & producer of short film projects nurturing new directors & writers. Project manager for Off y Grid, a Film Hub Wales initiative. Currently producing short films in a pilot project between Wales and Nepal and developing a TV drama series for young people.
When was the first time you realised you wanted to make films?
As a child, cinema was a regular feature on a Saturday morning & over the years the more films I saw the more I fell in love with the big screen. However I always thought that working in films was an impossible dream for a girl from the sticks. After a brief mindset detour – when I thought I would become a surgeon- I realised that this was definitely not for me. Throughout adolescence, university & the early days of my career film has always fired my imagination & has transported me to other worlds & cultures.
What was the last project you worked on / made?
I wrote & produced a 3 part drama series for S4C, filmed in Wales & Majorca.
What are you up to now? What is the next project you’re working on?
Mentoring a filmmaking course for young people + waiting for venues to open to rekindle Off y Grid activities as a project manager/co-ordinator and producing a 6 part drama series for young people. Also I’m considering potential film projects. I have just accepted an invitation to produce/mentor 3 short films with young filmmakers from Wales as part of the International Youth Media Summit. This is a collaboration between Nepal & Wales. I’m also a producer/mentor on a forthcoming filmmaking course for young people in North Wales.
Useful links:
Claire Fowler is a writer-director from Wales who is based both in the US and UK. Her latest short, Salam, was the first Welsh short film to premiere at the Tribeca Film Festival, and was one of ten shorts selected for the Short Film Award at the BFI London Film Festival. It has since screened at more than one hundred festivals and won over ten awards including the BAFTA Cymru award for best short in 2020.
When was the first time you realised you wanted to make films?
I’ve always been attracted to the idea of filmmaking, and I’ve always loved narrative in the form of reading books, drawing, and watching films. But being from a small village in North Wales it didn’t really occur to me that directing was even an option for me– which sounds ridiculous when you consider that I studied Fine Art at University. I guess my naive teenage brain thought I could be a teacher and an artist, but never a director because only posh people did that- which just goes to show that representation matters. But at University I began to make little experimental films and I became completely absorbed in the process. There was this palpable magnetic pull towards filmmaking, but there was also a huge amount of resistance from me (and my family) in the form of very practical questions such as: How do I even begin to do this? Where will I find the money for each film? How can I make a living? But I had to give in to the gradual realisation that I would not be happy unless I pursued it. To be completely honest, it still feels very far away because I don’t yet make a full-time living from directing. Sometimes I manage to for months at a time, but right now I still need a back-up for the dry periods. What we do not talk about is the fact that most people who succeed in this business have independent wealth. To make even a short film a director has to not only raise the funds for the film itself, but also factor in lost earnings for all of the days spent casting, in prepro, on-set and then in post. If you don’t have all of the resources on hand, you still have to pay rent and bills, eat and travel and maintain other employment. It’s a real juggling act when you’re not wealthy and no one is ever going to give you extra credit for that.
What was the last project you worked on / made?
The last project I worked on as director was actually as a director-for-hire and it was unfortunately not an enjoyable experience. The writers were great, the scripts had a lot of potential and the cast and crew were lovely, but it was low budget, corners were cut, and certain directorial decisions were taken out of my hands by the producers. It only served to weaken the end result and make the process painful. A director’s job is to bring their vision to a project. One person takes on that responsibility because design by committee is disastrous. A director-for-hire has the additional responsibility of pleasing various people– execs, writers, producers. In this situation, there is a process that should be followed to ensure that everyone is happy– for example, casting and other creative decisions (such as hiring key crew) should be made in consultation, there should be in-depth concept and tone meetings for every episode, a post-production schedule, time set aside for a director’s cut. It should be a collaboration, but one that supports the director as the creative helmer of the project. This job did not follow the usual professional process, and it did not respect my role as director. Compromise is always possible when there is respect present in a relationship, but if someone insists on imposing their vision over the director’s, then there is going to be discord on-screen and off.
What are you up to now? What is the next project you’re working on?
I am developing a feature script with BBC Films and Sorcha Bacon of Try Hard productions. It has taken pretty much the whole of the pandemic to get the contract to a place where we are all happy, but I am really excited to be working with Sorcha, and Claudia and Eva of the BBC.
Useful links:
With over 20 years industry experience Alice has worked alongside some of the UK’s leading indies – joining Cardiff based, BFI vision awarded ie ie productions in 2012 as part the team behind the pioneering, award winning multi-platform project ‘American Interior’. In 2015 she launched ie ie’s drama department – building on the company’s international reputation for creating ground-breaking, cross-platform content and expanding their diverse slate of productions. Inspired by creatives working across disciplines, she collaborates with writers and directors to tell stories from under-represented voices and find sustainable ways to realise their vision – whilst making commercially viable film and television for global audiences.
Her award-winning shorts have screened internationally and in 2018/19 she produced Welsh broadcaster S4C’s first short form, bilingual drama series Merched Parchus (Respectable Girls) – which has received multiple award nominations including; RTS Cymru, Bafta Cymru, Celtic Media and Broadcast Digital. The series is being sold internationally by Videoplugger.
She then co-wrote and produced multi-disciplinary artist and filmmaker Tina Pasotra’s debut narrative short I Choose – released on the BBC in September 2020.
Alice is currently in post-production on her first co-production – Andrew Legge’s debut feature L.O.L.A; alongside ie ie’s MD Catryn Ramasut and Cowtown Pictures’ producers John Wallace and Alan Maher. She’s also exec producing a short documentary with emerging filmmaker Siôn Marshall Walters.
Alice was a 2017/18 participant on Birds Eye View Filmonomics – which ‘Advocates and educates the female perspective in film through “Action!” – not words’ – and was mentored by Katherine Biddle of See Saw Films through BFI.NETWORK x BAFTA crew 2018/19. In 2019 she was selected for BFI.network@lff international filmmakers, in 2020 for BFI Insight Producers Scheme and in 2021 for Rotterdam Producers Lab and LIM (Less is More) Development Lab.
When was the first time you realised you wanted to make films?
Hmm, I have no idea to be honest! I grew up in rural mid Wales without a TV though, so I guess I was always intrigued to find out about something I didn’t have any tangible experience of. My sisters and I used to make our own wildlife programmes by drawing on lining paper and feeding it through slits on the sides of a cardboard box! I also remember listening to Neighbours through the fuzzy white noise of an old tv set rigged up in the garden! But I think it was probably when I moved to London as a student that I really started thinking about working in film and tv – although it still felt a million miles away from becoming a reality, until I got a part time job as a runner at a production company when I was in my final year and it all fell into place from there!
What was the last project you worked on / made?
The last thing released was a short film called I Choose directed by Cardiff based multi-disciplinary artist and filmmaker Tina Pasotra; which we made through the Beacons scheme (currently available on BBC iplayer). We’re also currently in post-production on our first narrative feature – L.O.L.A by writer/director Andrew Legge which we’re co-producing with Cowtown Pictures in Ireland.
What are you up to now? What is the next project you’re working on?
Alongside L.O.L.A we have been really busy in development during the pandemic. I’ve also been lucky enough to have been selected for some fantastic labs, so have felt a bit like I’m back at school from my living room! We have a number of tv drama series’, two YA live action features – one of which we’re running industry workshops with LGBTQ+ young people alongside, and an animated family feature in development – all of which I’m really excited about – so fingers crossed one of those will be the next out of the starting blocks!
Clare Sturges is a writer and director based in Cardiff, Wales. She recently wrote and directed BAFTA Cymru-nominated narrative short THE ARBORIST through the BFI Network, which premiered on BBC Two and is currently available on BBC iPlayer.
Clare’s short documentary MY BRIEF ETERNITY won the BAFTA Cymru Short Film Award in 2016. The film was nominated for Best Short Doc at London Short Film Festival 2016, longlisted for a British Independent Film Award in the same year and the EE BAFTA for British Short Film in 2017. Clare won the BAFTA Cymru Breakthrough Award for her documentary SEXWORK, LOVE & MR RIGHT in 2015, which was acquired for broadcast by ABC Australia.
Since 2017, Clare has been shadowing director Euros Lyn – on Channel4 mini-series KIRI, Jack Thorne’s BBC adaptation of HIS DARK MATERIALS and Film4/Raw feature DREAM HORSE. She has also shadowed series DP Adriano Goldman on the Aberfan episode of Netflix’s THE CROWN (S3), and director Phil John on Sky’s LUCKY MAN (S3).
In 2020, Clare was awarded bursaries from Ffilm Cymru Wales and the Welsh Broadcasting Trust to support her development as a director of scripted work.
When was the first time you realised you wanted to make films?
I was 30 years old, recently made redundant from a desk job I hated, and freelancing as an advertising copywriter. One of my agencies asked me to write an AV script for a corporate client. I wasn’t sure what an AV script was and had to look it up. Then they asked me what the meta-narrative was and again I scurried off to Google to find out. A whole new world of visual storytelling opened up to me and I was hooked from then on.
What was the last project you worked on / made?
I wrote and directed narrative short The Arborist through the BFI Network scheme, via Ffilm Cymru Wales / BBC Wales. It’s a deeply personal film – a drama about grief and loss and the power of objects, places, people and memories to connect us to those we’ve lost.
What are you up to now? What is the next project you’re working on?
I’ve recently signed with United Agents and we’re working together to progress my career to the next level… having ‘generals’ with producers and execs, applying for career development opportunities and being put forward for jobs. It’s all about landing upon a lucky opportunity to break through into drama directing, while developing my own projects alongside. I’m currently writing my first feature film: a ghost story set in the Highlands of Scotland. And I’m developing a documentary series and a factual drama – both of which explore the ripple effects of homicide.
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This week, Forbes interviewed Naomi Bennet of Lesflicks about why she launched a film streaming platform for Queer Women.
