London, UK — In a progressive shift, the British Academy of Film and Television Arts (BAFTA) has unveiled significant changes to its voting process for the upcoming 2025 film awards, responding to prior criticisms which questioned the transparency and inclusiveness of its selection methodology. The academy’s adjustments focus particularly on minimizing jury intervention, which in recent years had been seen as out of touch with broader industry perceptions and the diverse voices within its own voting body.
For the first time since the implementation of the controversial jury system, BAFTA will return to a member-driven approach for selecting nominations in the director category. This process will commence with a gender-balanced longlist of 10 nominees, curated by the director chapter, followed by a final selection of six through a chapter-wide vote — a move intended to democratize the process and improve gender representation.
In the acting categories, while juries will maintain a role in the longlisting phase, their influence has been substantially reduced, with the final nominations now solely determined by the votes of acting chapter members. This alteration comes after the system was critiqued for seemingly obscure choices that did not necessarily resonate with industry professionals or audiences.
The campaigning strategies and reactions from industry insiders suggest a mixed reception to the projects in contention. Notable films like “Conclave” leading the pack with 12 nominations, and other key contenders including “Anora,” “The Brutalist,” “A Complete Unknown,” “Emilia Pérez,” and “Dune: Part Two,” showcase the breadth of cinematic accomplishments being recognized.
Feedback from four anonymous award campaigners — two women and two men who annually contribute their insights — highlights a general endorsement of the newly announced nominations. Expressions of satisfaction and reflections on the equitable distribution of nominations across a diverse array of films mark a stark contrast to previous years where jury decisions dominated the discourse.
However, not all outcomes have met universal acclaim. A notable example is the best director category, which, despite the intended gender-balanced longlist, resulted in only one female nominee, Coralie Fargeat for “The Substance.” This outcome mirrors the previous two years, underscoring an ongoing challenge in achieving true gender parity in significant award categories.
Adding another layer to the evolving landscape is the introduction of a children’s and family film category. This decision followed the termination of the BAFTA Children’s Awards and aims to integrate family-oriented content into the broader awards framework. Despite this initiative, initial reactions have been tepid, with some campaigners criticizing the overlap with the animation category and the exclusion of potential live-action contenders like “Paddington in Peru.”
Each modification to the BAFTA voting and nomination process appears driven by a desire to more accurately reflect the evolving dynamics of the film industry and its audience’s expectations. By granting more power back to its members and reducing jury input, BAFTA seeks to align itself more closely with the principles of transparency and community representation.
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