We are delighted to introduce you to the judges of the 2025 Childnet Film Competition. Click below to find out what each of our judges are looking for in a winning film, as well as their top tips for filmmakers.
Lisa Prime, Head of Children & Young People’s Programme, BAFTA
Lisa heads up BAFTA’s programme for children and young people, overseeing events, content and initiatives for under 18s. The focus of Young BAFTA is the importance of creativity in supporting mental wellbeing and self expression; the development of transferable skills; highlighting different roles and careers across film, games and television. She is also responsible for initiatives and competitions which identify and support young talent: BAFTA Young Game Designers and Young Presenters.
It’s tough to be original but I’d still like to see something that surprises me – in a good way! Most importantly, it needs to be honest and from an authentic perspective so the audience can relate to the film.
Work collaboratively and be prepared to listen if someone has a different creative vision to you. I also think planning is crucial so storyboard your film to make sure each shot counts and there’s a reason for including it in the final edit.
I simply can’t pick my favourite children’s film of 2024! I thought Kensuke’s Kingdom was beautiful with stunning visuals from British animation studio, Lupus Films. I loved Moana 2 because the first Moana film was a family favourite and this gave me an excuse to go to the cinema with my daughter and have a discreet sing-along! And then Inside Out 2 is such a clever and important film, making it easier for children to talk about their feelings and emotions. A huge part of my work for Young BAFTA is recognising the importance of creativity to self-expression and wellbeing. At our Young BAFTA Roadshows with Place2Be (children’s mental health charity), Inside Out 2 was often mentioned as a great film to help unlock difficult conversations for children and young people. It’s a reminder of the power of film and the real-life impact they can make.
Jessica Schibli, Head of Creative Diversity at the BBC
Jessica leads the BBC’s creative diversity strategy across TV, Radio, Sport and Children’s & Education content—on and off air. She works closely with commissioning teams and production partners to drive authentic representation, embed inclusive production practices, and ensure the BBC serves all audiences in line with its public purpose.
Jessica is a passionate advocate for the power of representation—particularly its lasting impact on young audiences, especially having started her BBC career in Children’s. She believes inclusive storytelling not only shapes culture but helps build connection, belonging and trust. Over the past year, she has led the rollout of the BBC’s Creative Diversity Commitments, Inclusive Production Principles and helped drive the BBC’s contribution to the pan-industry TV Access Project — ensuring progress is both measurable and meaningful.
I’m excited to be part of the judging panel again this year and to champion bold new creative talent. I’ll be looking for films that feel fresh, emotionally honest and grounded in perspective—stories that reflect the richness of our society and connect with audiences in surprising or meaningful ways.
Stay true to your voice. The most powerful stories come from a place of authenticity—so lean into your own experiences and trust that your perspective matters. And most importantly, enjoy the process—creativity thrives when you’re having fun.
Wallace & Gromit: Vengeance Most Fowl was an absolute joy for kids and grown-ups. It had all the signature charm—sharp wit, inventive storytelling, and beautifully crafted animation. It was clever, funny, and full of heart—a brilliant reminder that great storytelling can be both meaningful and playful.
David Austin, Chief Executive, BBFC
I am the Chief Executive of the British Board of Film Classification, known as the BBFC. We have been classifying content for over 112 years, and are responsible for providing age ratings and content advice for films you see at the cinema, DVD and Blu-ray content and some streaming platforms such as Netflix and Prime Video. You may have spotted our iconic Black Card on screen at the cinema before a film, with the film’s age rating – that’s us!
I work with a brilliant team of expert Compliance Officers, who are the people responsible for viewing all the content and determining the appropriate age rating based on our published Classification Guidelines.
As the Chief Executive, I sit on the BBFC Board as one of the four Statutory Classifiers, who are designated by the Government to collectively classify films and series under UK law. This means that I will sometimes view films that need my decision for the age rating. I also manage our very important relationships with the film industry, policy makers in Government and our charity partners such as Childnet, and once again, we’re thrilled to sponsor this year’s competition.
This year, I’ll be looking for innovative films that really showcase this year’s theme in an interesting and engaging format – films that hold the attention of its audience will always be memorable. Every year the standard of entries to the Childnet Film Competition increases, setting the bar even higher. I’m excited to see this year’s entries, although picking the winners is always a challenging job!
I would encourage all budding filmmakers to think carefully about the message they wish to convey to their audience. I’d advise all entrants to allow their creativity to flourish so that they can create a film that sparks a feeling in audience members. This can be achieved with a great script, slick editing techniques, or some brilliant acting — the options are endless.
Inside Out 2! As Riley from the original INSIDE OUT film goes through the difficult changes of puberty, this exuberant sequel, with its lovable, funny ‘emotion’ characters, follows her path with reassuring messages for a young audience.
Charlotte Tudor, VP Marketing Disney & Animation, Walt Disney Studios UK & EMEA
I am Vice President for Marketing at the Walt Disney Studios where I develop marketing and communications strategy and lead on our marketing campaigns for our Disney and Animation Studios films. I am passionate about the creative arts, filmmaking and storytelling. I believe that films are a reflection of our own lives and society, they unite us in a collective experience, and they give us a way to explore the past and the present, fuelling new ideas, and inspiring future generations
I’ll be looking for a story that feels original and engaging, and that somehow catches my attention and surprises me, either with drama, humour or a clever message. I’ll also look out for interesting use of sound, and for good use of camera and lighting which should all support and strengthen the story. I think what will mostly stand out for me will be the filmmaker’s authentic voice.
If you’ve got a great idea for a film or an animation, start by making a story board, don’t worry about expensive kit, most smart phones can use editing software now.
Do ask friends and family for feedback, but keep your idea original and about something that interests you, and also keep it simple! Some of the best stories are based on very simple ideas…
It’s great when the audience can connect to your story, so be passionate about what you do, and that should hopefully come through in your work.
Finally, you could speak to your teachers about starting a club at school where you can learn more about techniques and give things a go. There are lots of great resources out there to help get you started!
Even though I work at Disney I would have to say Disney & Pixar’s Inside Out2.
It’s so clever how the film explores what’s going on inside our heads and the film’s representation of Anxiety as an entry point for kids to open up and have conversations about their own feelings and experiences is powerful. But it’s also universal, and I know it resonates with audiences everywhere at different levels, and we can all learn from it , so I’d also have to say it’s not just a film for children!
Emilie Anthonis, President and Managing Director, Motion Picture Association (MPA) EMEA
I’m Emilie Anthonis, President and Managing Director for the MPA in Europe, the Middle East, and Africa. I lead our work across the region to support the screen industry, from advocacy to protecting creative content and promoting innovation. I began my career as a media and copyright lawyer and have spent over two decades in the audiovisual sector, working in legal, public affairs, and government relations roles.
One of the most rewarding parts of my role is helping ensure that the next generation of storytellers has the freedom, support, and opportunities to create and share their stories. I believe deeply in the power of film to educate, empower, and inspire young people — and in the importance of giving them the tools and opportunities to express themselves creatively and responsibly.
This is the first time I get to take part as a judge. The MPA has been a supporter of Childnet since 2019, and the Film Competition for many years now and I am really excited to take on this opportunity as part of my new role. Of course this year’s theme is an important one, and I’m especially interested in how young people choose to interpret it. I’ll be looking out for films that show empathy, creativity, and a strong sense of purpose, that use storytelling to raise awareness of online scams and highlight how we can support one another.
One of the great things about working in film is that, often times, work doesn’t feel like work. It’s actually a lot of fun. So, start having fun! Ask your parents to download a simple editing app, take the phone in your hands and start rolling. Cut short videos of your family and friends, your pets, or of that poetic sunset you saw. Try out an animation software to create 5-second cartoons. Tell your teachers you want to make a documentary about the school trip to the museum. Everything around you can be your inspiration.
By far the most difficult question! 2024 was such a fantastic year for films, and children’s films were some of the best. The impressive CGI details of Mufasa, and the pure joy of Wallace & Gromit… And of course, Wicked: can you imagine the massive effort needed to create such an enchanting world of intricate sets, fantastical costumes, and spellbinding visual effects? But, to my point above, I will say Flow, the Oscar-winning animated film made on a free computer software. The films by young creators in competition don’t always have access to vast resources — but through ingenuity and inspiration, they craft stories that are every bit as powerful, and just as deserving of recognition.
Ruby – 2024 winner
In 2024 I entered The Childnet Film Competition, and I was thrilled to receive first place in the Secondary age category. I was tasked with expressing an answer to the question “How would you make the internet a better place?” I chose to complete an animation detailing the importance of having a mature and considerate attitude when using online platforms, using a flower as a metaphor for how negativity can affect fellow users. I enjoyed the opportunity to share my thoughts via a creative avenue and learn more from the brilliant applicants alongside me.
I will be looking for films that can appeal to the emotions of an audience, whilst ensuring the narrative remains focused on the brief. By doing this, the film will be both engaging and informative.
Allow yourself to explore an angle or concept that’s new to you. Finding your niche will make you stand out!
My favourite from 2024 has got to be ‘Wallace and Gromit: Vengeance Most Fowl’ Aardman animations have been a prolific part of my childhood and definitely sparked my own interest in animation. I loved seeing the wonder associated with it continue.