Elenya was commissioned by the British Film Institute (BFI) to undertake a formative qualitative research project exploring the views, expectations, and creative input of potential audiences in relation to an early-stage concept for a new cultural space. The project was highly exploratory in nature – at the time of fieldwork, there was no fixed proposition, site, or delivery model. Instead, the focus was on gathering rich insight to inform future strategic development.
This was not a traditional consultation or concept test. Rather, the work was designed to provide a grounded, imaginative understanding of how different public audiences think about their relationship with film and screen culture, what they value in shared cultural experiences, and how they might approach the challenge of designing a new kind of visitor offer.
Our Role
Elenya delivered the process from initial design through to final reporting, with support from our trusted partners. This included:
- Scoping the research approach and designing the discussion framework
- Creating participant-facing materials, stimulus prompts, and activities
- Managing recruitment across two major cities: Manchester and Birmingham
- Booking and managing venues, arranging catering and accessibility needs
- Facilitating all focus groups in person
- Managing incentive payment and participant logistics
- Analysing qualitative outputs and producing a detailed narrative report
We worked closely with the BFI team to ensure the research was not only methodologically robust, but also open, speculative, and aligned with the values of inclusive public engagement.
Context and Aims
The BFI was in the very early stages of exploring a new public-facing offer focused broadly around film, moving image and screen heritage. The brief was intentionally open – the aim was not to test a specific vision, but to step back and explore more fundamental questions:
- What do people value about film and television in their everyday lives?
- What emotional, educational or social connections do they have to screen culture?
- What makes a public or cultural space feel meaningful, exciting, or inclusive?
- What would people design for themselves, given the chance?
- What could a new kind of cultural offer look and feel like – and who should it serve?
This wasn’t about collecting votes on a finished idea. It was about building an imaginative and evidence-informed foundation for future planning – by listening carefully to real people, in all their diversity and complexity.
Who We Spoke To
To reflect a broad range of experiences and cultural habits, we conducted six in-depth focus groups segmented by life stage and current circumstances:
- Retirees (65+)
- Independent adults (25–50) without children at home
- Parents of children aged 5–11
- Parents of children aged 0–4
- Young adults (18–24) with experience of university
- Young adults (18–24) who had not attended university
Each group brought a distinct lens, shaped by different routines, family structures, leisure priorities, and screen habits. This segmentation helped us explore not just what people think, but why they think it – and how needs and expectations shift at different points in life.
What We Explored
Each 90-minute session followed a flexible, participatory structure. We began with personal reflections – inviting people to talk about favourite films, emotional memories, and how screen culture fits into their lives today. From there, we moved into wider conversations about leisure activities, cultural experiences, and the kinds of spaces people choose to spend time in.
The middle of the session explored first impressions and reactions to a loosely framed concept – a public, film-related experience that might include exhibitions, screenings, creative spaces, archives, and opportunities for participation. People were invited to respond freely, imagining what such a space might contain, who it might attract, and how it could feel different from more traditional museums or institutions.
The final phase of each session introduced a hands-on group activity: a speculative design task where participants imagined and sketched their own version of a film-inspired cultural experience. This wasn’t about architectural plans – it was about ideas, emotions, and atmosphere. What should people feel when they walk in? What should they take away with them? What’s the one thing that would make it unforgettable?
Key Insights
While the detailed findings remain internal to BFI, the research surfaced several cross-cutting themes:
- Film as emotional memory and shared language
Participants often spoke of film as something deeply personal, yet collective – a source of nostalgia, connection, and intergenerational dialogue. These stories often had nothing to do with ‘heritage’ in a formal sense, but instead showed how screen culture weaves into the fabric of everyday life. - A desire for spaces that are social, interactive, and evolving
Many people expressed fatigue with static museum experiences. They wanted spaces that were alive – where things changed regularly, where they could take part, make something, or have a conversation. There was strong interest in participatory formats, creative workshops, and spaces that could be shaped by the community. - Relevance and visibility matter
Several participants noted that cultural institutions often feel ‘for other people’. For a new space to feel relevant, they suggested, it would need to reflect the experiences of diverse audiences – in its content, its staffing, its tone, and its location. Community access, affordability, and representation were frequently cited as baseline requirements. - Opportunities to challenge and imagine
People were not just interested in nostalgia. There was appetite for experiences that challenge assumptions, ask big questions, or showcase the future of screen culture – from digital storytelling to AI-generated cinema. The potential for dialogue and critical reflection was seen as just as important as the joy of revisiting old favourites.
Influence and Outcomes
Our final report offered not only a rich description of public views, but also a series of strategic provocations for BFI to consider as planning continues. These included:
- Being mindful of over-designing the offer before fully understanding the audience
- The importance of embedding co-creation and responsiveness from the outset
- Thinking carefully about place: what would make this feel truly local and open?
- Considering emotional impact as a design principle, not just educational value
- Recognising that relevance cannot be retrofitted – it must be built in from the beginning
In this way, the project helped to shape early conversations within BFI and provided a grounded starting point for further design, stakeholder engagement, and business planning.