Blockbuster film Notting Hill was a triumph for Welsh talent, putting an unmodified Welsh voice on screens around the world in the form of actor Rhys Ifans. Is Welsh film making on the brink of international success?

Meet the participants

Justin Kerrigan, Director Human Traffic

Alan Niblo, Producer Human Traffic

Dave Berry, Welsh Film Archive, film critic and author

Pauline Larkkom, Head of Production, Sgrin

Clive Myer, from the International Film School, Wales

In the world of indie film making, Wales is the new Scotland. The breakthrough didn't come with green valleys and male voice choirs, but with kids out on a wild weekend. Human Traffic, set against a backdrop of club culture, opened to rave reviews and was the surprise indie hit of 1999.

Shot mainly in Cardiff, Justin Kerrigan wanted to tell a story about the Wales he knew:

"It would have been obvious for a film about club culture to come out of London or Manchester, but I came out of Cardiff and so did my friends, so it's more honest, and more interesting because it's not been done before."

By August 1999, the film had taken £2.5 million and become the most successful Welsh film ever. It was also a vital breakthrough for Welsh filmmakers.

Alan Niblo says: "It's important for two reasons. Firstly as a cultural representation of a country that has very little filming representation anywhere in the world. Many people's views of Wales abroad are very narrow and judgmental. This film helps keep Wales on the map and signals that it's cool and hip as well.

"Secondly, it sends an important message to young filmmakers. Human Traffic was made without any traditional industry support. This shows that, if you've got passion and belief and a project that you really want to get up there on the screens, you really can do it."

But until recently it has been a struggle. Recent Welsh films like Twin Town haven't made a significant impact at the box office. Dave Berry says that Scottish films get far more funding than Wales, but still needed a breakthrough hit to change perceptions. He believes that investment is crucial:

"Before Trainspotting came along people were asking: 'What has Scotland produced with the money that's been invested?'. Then Trainspotting came along and there's now the perception that Scotland is miles ahead of Wales. It's bonkers. Welsh film makers can match any one else in Britain."

Sgrin is the body responsible for nurturing Welsh film talent. Pauline Larkkom explains how the growth in the industry could be related to the recent political events:

"With the new Assembly there's growing public confidence and a tangible centre of Welsh identity and culture. Now people of Wales want to have their voices heard beyond Wales. The recent boom in Wales is comparable to what happened in Scotland three or four years ago. We've currently got one film in post-production, one half way through filming, two major features just about to start and at least four more next year."

Clive Myer hopes that Wales can become a major player in the international film scene: "The boundaries between what is national and what is international are blurring and we're developing towards a much broader horizon of where film making can take place. We don't just want to help people in Wales to make films, we want to bring people from all over the world to make films in Wales. There's an awful lot of talent around in the new generation – it's fantastic!"

Take it further

100 Years of Welsh Cinema, Dave Berry

Cardiff on the web

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Content last updated: 21/07/2000