I’m an access officer for cinema exhibitors and socially engaged arts organisations working on inclusion initiatives to bring independent film and arts to marginalised audiences. I do this through strategic projects, representative curation, inclusion workshops, audience development with specific communities, resource development and internal analysis — all with a focus on accessibility and cultural inclusion.
My current roles are:
— BFI Film Audience Network Access Officer at Film Hub Wales
— Access Project Manager at Birds Eye View
— Critical Friend at Heart of Glass
— Creative Producer at Nozstock The Hidden Valley
— Trustee at Wyldwood Arts
As access project manager for Birds’ Eye View, I’ve been developing D/deaf and Disabled audiences for Reclaim the Frame as it pivots to digital during lockdown, through community messaging, and the booking of accessible provision - live captions, BSL interpretation and captioned and audio described feature film version delivery in collaboration with distributors. I’ve worked on titles including Clemency, White Riot, The Assistant, The Perfect Candidate.
Reclaim the Frame is a project that centres female and non-binary perspectives in film.
As access officer for the Film Audience Network, (FAN) I’ve published the Inclusive Cinema resource sharing best practice, how-to guides and web-wide resources to support our exhibition network of over 1500 member cinemas across the UK. I’ve also been developing strategic projects to support grassroots exhibitors led by people of colour, LGBTQ+ people, and worked with disability advocates and those with lived experience to develop an awareness campaign around accessible cinema.
Inclusive Cinema is a FAN project hosted by Film Hub Wales, using BFI funding from the National Lottery. inclusivecinema.org
As project coordinator for Thunderbird Releasing (previously Soda Pictures) I supported the distribution and regional engagement of exhibitors and audiences for two East-Asian titles, Shoplifters (Koreeda Hirokazu) and Burning (Chang-dong Lee), helping to forge a path towards mainstreaming East-Asian cinema such as Parasite.