Darlings, hold onto your vintage Dior — the British are staging their most sophisticated invasion of Hollywood yet, and this time they’re armed with celluloid treasures and serious star power. The British Film Institute’s latest power move across the pond isn’t just making waves; it’s creating a full-blown cinematic tsunami.
Barbara Broccoli — fresh from orchestrating that jaw-dropping billion-dollar Bond farewell with Amazon MGM — is leading this glamorous charge. (And honestly, who better to spearhead such an endeavor than the woman who’s kept 007 relevant through three decades of martini-swirling excellence?)
The newly christened BFI America has assembled a board that reads like the guest list of the most exclusive Oscar after-party you’ve never been invited to. Alongside Broccoli, there’s the brilliantly eccentric Terry Gilliam — whose imagination has given us everything from Time Bandits to 12 Monkeys — and a constellation of industry heavyweights who probably have Spielberg on speed dial.
BFI Chief Executive Ben Roberts rather modestly suggests that “the UK and the U.S. share deep and rich connections in cinema.” Well, darling, that’s rather like saying Meryl Streep is somewhat talented. These connections haven’t just shaped modern cinema; they’ve practically written its DNA.
The timing? Nothing short of divine providence. As the BFI National Archive celebrates its 90th anniversary, they’re rolling out the kind of programming that makes film preservationists weak at the knees. Picture this — an original Technicolor print of “Jaws” swimming its way to the TCM Classic Film Festival. Yes, really. The same festival will showcase a 1945 nitrate print of “Mildred Pierce” that practically drips with Joan Crawford’s shoulder pads and ambition.
But wait — there’s more intrigue in this plot than a Hitchcock thriller. The new board brings together an absolutely delicious mix of talents: from Varo Money founder Colin Walsh to UCLA’s brilliant Dr. Mali Heled Kinberg. It’s the sort of eclectic gathering that could only happen in 2025’s increasingly interconnected entertainment landscape.
The Roosevelt Hotel (where the first Academy Awards were held, in case anyone’s keeping score) will host what promises to be the soirée of the season. “From Across the Pond: Sights & Sounds of the British Film Institute” will feature none other than Guillermo Del Toro in conversation with Ben Roberts. One can only imagine the fascinating discourse that’ll flow as freely as the champagne — though hopefully with less spillage on vintage prints.
This isn’t merely about preserving dusty reels in climate-controlled vaults. The collaboration between the BFI National Archive and institutions like Scorsese’s Film Foundation represents something far more profound: a shared commitment to protecting our collective cinematic heritage. Whether you pronounce it “cinema” or “movies,” the language of film transcends any accent.
As we witness this elegant fusion of British preservation expertise and American showmanship, one thing becomes crystal clear: the future of film history has never looked more carefully preserved — or more fabulously curated. Now, if you’ll excuse me, there’s a screening of that pristine “Jaws” print calling my name.
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