The directors present their annual report and financial statements for the year ended 31 March 2026.

PRINCIPAL ACTIVITIES

Screen South is a not-for-profit cultural development organisation delivering projects across screen, arts, heritage and XR-immersive technologies bringing education and life- long learning to all communities. We value diverse lived experience delivering free access to creativity and cultural engagement to drive innovation and change.

We create free and accessible opportunities for people to access, participate in and shape culture, removing barriers, increasing representation and building pathways into learning, employment and creative leadership.

We deliver this through three interconnected strands of activity:

• National and regional collaborative projects with creative and cultural industry partners developing new audiences.

• National programmes under our Accentuate programme, supporting D/deaf, disabled and neurodivergent people to participate in and lead cultural settings.

• Regional and local community and young people's programmes across arts, film and digital creative tech.

2025–2026 was one of Screen South's most ambitious and impactful years. In our third year as an Arts Council England National Portfolio Organisation, we expanded our national profile while deepening impact across Kent, the South East and beyond. Highlights included Curating Visibility across six museum partners; Uncomfortable Bedfellows; Reveal at Folkestone Triennale; the Unfolding Worlds XR Lab with John Gerrard; an international residency with Flaminia Celata; Screen Ashford, the Kent on Film Festival; BFI Develop Create XR; Culture Camps; the BFI Film Academy South East partnership and Electric Dreaming. All programmes were free for participants and audiences.

We also welcomed new staff and progressed plans for The Bench, our future creative centre in Dover. The year reinforced creativity’s role as a driver of creatives and community engagement, learning, wellbeing, inclusion, skills and economic growth.

REACH, PARTICIPATION AND IMPACT 2025–2026

In 2025–2026, Screen South reached more than 525,689 people across all programmes.

Much of this reach came through Accentuate’s free exhibitions, trails and digital outputs, particularly the Museum of Liverpool trail, which continues to attract tens of thousands of visitors each month.

Curating Visibility exhibitions and events engaged a further 61,198 people, including launches at Imperial War Museum Duxford, the Food Museum and Dover Museum.

We directly engaged over 800 young people through practical activities and more than 4,000 through school, college and careers presentations. The Digital Hub supported over 3,000 people through free workshops, labs, screenings, residencies and professional development.

Many participants accessed creative technologies, cultural institutions and professional environments for the first time, building confidence, digital skills, wellbeing and community connection.Our programmes aim to:

• Increase access and amplify underrepresented voices: Providing free or affordable opportunities for people to engage with arts, heritage and digital technologies regardless of background or experience as audience, visitors, participants or makers.

• Support young people: Developing creative confidence, technical skills and pathways into further learning and employment.

• Improve wellbeing: Creating spaces for self-expression, social connection and community participation.

• Champion inclusion: Enabling D/deaf, disabled and neurodivergent people to lead cultural change and participate in all cultural experiences

• Strengthen local economies by supporting local & regional talent Supporting artists, freelancers and creative enterprise to develop new work for new audiences and support their future sustainable careers.

ARTS COUNCIL ENGLAND – NATIONAL PORTFOLIO ACTIVITY

Our work remains guided by Arts Council England's Investment Principles and our commitments to Inclusivity, Ambition and Quality, Environmental Responsibility and Dynamism. Our annual National Portfolio review and ACE Area Director visits confirmed that we remain on track across all investment pillars and targets and expressed genuine pleasure at the quality and regional impact of our work.

Arts Council England investment underpins all our public benefit activity. It enables us to provide opportunities for participation, support emerging talent, build strategic partnerships and ensure that cultural investment reaches communities who may otherwise face barriers to access. Screen South also contributed to the launch of ACE's new Digital Arts discipline, helping define the classifier framework that will shape future funding and investment in this area. This strategic contribution ensures that communities across the South East remain connected to national conversations about culture, creativity and digital innovation.

ACCENTUATE PROGRAMME

Led by Esther Fox, our Head of Accentuate, the programme continues to deliver exceptional public benefit by enabling D/deaf, disabled and neurodivergent people to become leaders, creators and decision-makers within cultural institutions.

By March 2026, cumulative participant and audience figures across all Accentuate programmes stood at over 1.83 million over the last 5 years

Accentuate not only supports individual practitioners but creates long-term systemic change by helping museums and heritage organisations become more inclusive, representative and accessible for their visitors and local communities.

Curating Visibility

Our flagship D/deaf, disabled and neurodivergent-led fellowship programme placed six fellows across six major museum and heritage partners. The first cohort completed their placements during 2025, each creating immersive, co-produced digital interventions. The second Cohort are in place and will deliver by Summer 26:

• Cat Waites – IWM Duxford - We Shall Not Be Left Behind, a sound installation surfacing the lesser-told stories of deaf and disabled people during World War II;

• Anahita Harding – Food Museum - Food Not Cuts, a courageous immersive sound installation examining disabled people's access to food preparation, reached almost 5,000 visitors within its first months;

• Karl Mercer – Dover Museum - At The End of History, a VR experience - fully accessible to blind and partially sighted audiences telling the story of Dover’s Sea trade and tales;

• Noah Silver - London Museum, Hazel McMichael - Charleston and Saba Siddiqui - Barnsley Museums – have been developing co-production community sessions with disabled community participants to shape their interventions.

The programme also maintained a strong national profile through presentations at the Museums and Heritage Show, Museums Association Conference and multiple sector events.

Curating for Change

Although Curating for Change officially concluded in July 2024, its legacy continues to create substantial public benefit. The exhibitions and trails developed by eight fellows have now reached a cumulative audience of 1,685,176 people.

Uncomfortable Bedfellows

The programme, supported by our NPO work, seeks to reposition creativity not as a therapeutic intervention but as a powerful tool for dialogue, connection and systemic change within health and cultural settings. Throughout the year, Esther Fox convened a series of online workshops with disabled artists, exploring how creative practice can strengthen understanding between cultural and healthcare sectors whilst centring lived experience. A pilot workshop was delivered at Croydon University Hospital during Disability History Month in November 2025. We are now working with the Culture Health and Wellbeing Alliance and the National Arts in Hospitals Network to develop a wider sector initiative for 2026–2027.

Accentuate Extended Fellowship Network

Launched in August 2025, the Extended Fellowship Network is creating a sustainable national community of practice that supports disabled cultural leadership beyond individual programmes. By connecting practitioners, institutions and organisations, the network is helping build long-term structural change across the cultural sector.

We have been working with Plantlife to secure National Lottery Heritage Fund support, with to pilot a fellowship residency for a D/deaf, disabled or neurodivergent practitioner at Ranscombe Reserve in Medway. We also supported The Annunciation, Marble Arch, in its successful Heritage Fund application focused on Deaf communities. We also delivered nine VR workshops to more than 150 students at The Beacon SEN School in Folkestone, enabling young people with additional needs to access immersive digital storytelling whilst connecting with Dover Museum's collections.

These activities demonstrate how Accentuates commitment to increased representation, accessible innovation and long-term cultural change.

SOUTH DIGITAL HUB ACTIVITY

The Folkestone Digital Hub has continued to establish itself as a centre for experimentation, innovation and creative learning, delivering a rich programme of labs, showcases, artist support and professional development throughout 2025–2026. The Hub provides free access to emerging technologies and creating opportunities that would otherwise be financially or geographically inaccessible to many artists and communities. By providing access to specialist expertise, equipment and networks, the Digital Hub is helping to future-proof the creative workforce whilst ensuring innovation remains inclusive and available to all in our community – no matter what level of experience.

Labs and Showcases

Light Scapes

Six artists transformed Folkestone Town Hall through projection mapping, attracting more than 400 visitors in partnership with Folkestone Town Council. The project enabled audiences to experience public space in new ways whilst showcasing how digital creativity can animate civic environments and strengthen local identity.

Music in May

In partnership with Seaview Studios, Screen South worked with four emerging musicians and directors. The programme created opportunities for emerging creatives to gain practical experience, develop portfolios and build professional networks.

Unfolding Worlds

This three-month XR Lab was delivered in collaboration with internationally renowned artist John Gerrard, whose work featured within Folkestone Triennale 2025. Six artists explored Unreal Engine as a conceptual artistic medium before exhibiting their final works at Glassworks Atrium as part of Folkestone Fringe. The lab demonstrated how artists can engage critically with new technologies whilst making advanced digital tools more accessible.

Reveal

Reveal was Screen South's first group Showcase Artist exhibition at Glassworks, running alongside Folkestone Triennale. Nine Showcase Artists presented work exploring perception, technology, identity and place. The exhibition successfully brought immersive and digital practice into the public realm, enabling audiences to encounter new forms of storytelling and to take part in telling their own stories.

Electric Dreaming Lab

Electric Dreaming was a two-day intensive AI and generative video lab for filmmakers delivered with BRiGHTBLACK. Participants explored new creative workflows spanning narrative development, post-production and visual experimentation. As artificial intelligence increasingly influences creative industries, this work ensured practitioners could engage critically, ethically and creatively with emerging technologies.

Talks and Workshops

The Digital Hub delivered a broad programme of artist talks, skills workshops and networking opportunities throughout the year. These events enabled participants to gain specialist knowledge, expand professional networks and engage with contemporary creative practice.

Showcase Artists 2025–2026

Seven Showcase Artists received support throughout the year.

• Richie Moment (Folkestone) Developing Project TEN, a project ten years in the making.

• Emma Critchley (Brighton) Secured access to the Pinewood underwater stage and a Sadler's Wells Digital commission.

• Jane Pitt Developing Wild Polyphonies using Screen South's immersive sound rig.

• Matt Rowe Developed Side Quest, a VR folk ritual work supported by Immersive Art UK.

• Laura Burns Creating an experimental film and textile installation exploring neuroqueer relationships with land.

• Susanna Howard Developing an experimental doc around a person who is facing end of life due to MSA.

• Nick Vivian Engaging young people in a music and sound experimental piece at Chatham Dockyard.

By supporting artists over sustained periods, Screen South is investing in long-term creative careers and contributing to a resilient regional creative economy.

INTERNATIONAL ARTIST RESIDENCY – FLAMINIA CELATA

In June 2025, Screen South hosted Rome-based artist Flaminia Celata for a four-week residency at the Digital Hub, funded by Strategia Fotografia. Delivered in partnership with Living Words, The Boundaries are Eminently Porous explored neuroplasticity and historic debates around gender and brain structure through talks, workshops and showcases. Twelve local people took part in a month-long Co-Lab, with more than 100 attending public events.

The residency brought international practice into the local community, creating space for reflection, belonging and intergenerational dialogue. A digital publication documenting the project is now available online.

BFI PARTNERSHIPS

BFI Film Academy – South East Regional Lead

Screen South was appointed South East Regional Lead for the BFI Film Academy in 2025–2026, giving young people access to professional film education, industry networks and specialist training. The programme helps diversify future creative workforces whilst increasing aspirations and confidence for young people across the Southeast.

Programmes were delivered across five centres: Kent, Berkshire and Buckinghamshire, Milton Keynes, Hastings and Oxford, with participants recruited through open calls promoted via schools, care centres, social media and youth organisations. Screen South’s Kent Academy brought together 18 young people over ten days, producing one drama and one documentary with support from 17 industry guests.

All five regional groups met at London Film School in October for peer learning and industry-led sessions. The regional showcase took place at Pinewood Studios in February 2026, where more than 100 young people watched nine new short films made across the region.

BFI Challenge Fund – Develop Create XR

Screen South's national Film into Immersive Gameplay programme concluded successfully during 2025–2026. Thirteen projects completed three residential labs and participated in a final industry pitch day in Brighton attended by senior representatives from: Curran Games Agency, Pitchify, Emmy Award-winning No Ghost and the BFI.

Eleven cohort members also attended The Big Thing – the inaugural UK national Immersive Art conference in Bradford – supported through bursaries from the Immersive Arts Fund and the BFI. The BFI hosted a celebratory lunch to mark the programme's achievements.

Develop Create XR has strengthened national creative networks whilst enabling artists and filmmakers to develop future-facing creative practices. The programme demonstrates Screen South's increasing role as a national leader in immersive storytelling and creative innovation.

SCREEN ASHFORD

Funded by Ashford Borough Council, Screen Ashford strengthened Ashford Cinema’s role as a regional creative hub and focal point for creative participation, skills development and talent progression. In 2025–2026 the programme delivered 34 events, attracting 757 attendees, 210 training participants and more than 13,000 social media engagements.

Activities included short film commissions, a 48-Hour Film Challenge, a Feature Film Development Lab, Music on Screen, four new short films and the inaugural Kent on Film Festival in March 2026.

The programme shows the value of place-based creative investment, building local talent, participation and industry networks. Screen Ashford short films from 2024–2025 have reached 23 international festivals, including San Diego, New York, Toronto and Jordan, and received 12 award nominations. This international recognition demonstrates how local investment can generate global opportunities whilst enhancing the reputation of Kent and the Southeast as places where creativity can thrive.

IGNITION – YOUTH AND COMMUNITY ACTIVITY

Screen South’s youth and community programmes provide inclusive spaces for people to build confidence, skills and community connections.

In 2025–2026, we delivered nine Culture Camps across Ashford, Ramsgate, Folkestone and Basildon, covering photogrammetry, virtual reality, stop-motion animation and filmmaking.

Basildon Frames engaged 77 young people aged 11–16 from ethnically diverse communities, while Basildon Tech Fest introduced VR, game engines, 360-degree filmmaking and Claymation.

Tales on Screen, delivered with Napier Friends, supported around ten young men at Napier Barracks to develop filmmaking skills and share their stories. Four completed films were screened to a packed audience at Silver Screen Cinema.

Together, these projects improved confidence, wellbeing, digital literacy and social inclusion, positioning participants as active creators and storytellers.

PARTNER PROJECTS

Screen South continued as a delivery partner for Create South East, producing six legacy case-study films and delivering Routes to Market workshops in Brighton, Maidstone and Colchester, supporting an average of 12 companies per session. This work strengthened the creative economy by helping businesses identify routes to market, reach audiences and develop commercial opportunities.

Folkestone Documentary Festival 2025 was its most successful edition, with 25 community short film entries, a packed community screening, more than 150 Industry Day attendees and 57 one-to-one advice sessions. The festival continues to act as a platform for emerging filmmakers, community storytellers and industry professionals whilst strengthening Folkestone's reputation as a creative destination.

Screen South also co-presented Screen Finance Focus at Ashford Cinema, convening industry speakers on funding, distribution, intellectual property and sustainable business models.

Through partnerships with local authorities, learning, cultural organisations and industry, we maximise public investment and create lasting benefits beyond individual projects.

DOVER – THE BENCH

Screen South made significant progress towards establishing The Bench as its future creative home in Dover. This major long-term investment will provide a permanent centre for creativity, learning and community participation. During 2025–2026, we attended the September topping-out ceremony, hosted a Board site visit and established a Dover Sub Committee to review Heads of Terms. We plan to move in during November 2026, with public activity launching in January 2027.

The Bench will be a publicly accessible space where residents can learn, take part in cultural activity, engage with emerging technologies, connect with artists and build skills, confidence and community identity. It represents a long-term investment in Dover’s social, cultural and economic future.

STRATEGIC LEADERSHIP & PARTNERSHIPS

Screen South continued to champion creativity as a driver of learning, health, inclusion, skills and economic growth. Through regional and national leadership roles, Jo Nolan represented Screen South on key boards and advisory groups, helping position the creative industries as a priority sector for Kent and the wider Southeast. In December 2025, she was appointed Chair of the Creative Kent & Medway Network and contributed as a regional skills spokesperson, including on the keynote panel at Kent Skills 26.

Jo continues to serve on:

• Kent and Medway Economic Partnership Board

• Kent and Medway Business Advisory Board

• South East Creative Economy Network

• University of Kent Institute of Creative and Cultural Industries Advisory Board

• Chatham Docking Station Advisory Board

• Folkestone and Hythe Business Advisory Board

• Create South East Delivery Panel.

These roles strengthen Screen South’s ability to influence policy, advocate for the creative industries and secure long-term opportunities for communities across Kent and the Southeast.

Anthony Alleyne continued to provide strong leadership as Chair. The Board Awayday included visits to The Bench and Reveal, alongside a review of strategic priorities. The Finance and Audit Committee maintained quarterly scrutiny, while the Dover Sub Committee reviewed Heads of Terms for The Bench. Four new Board members joined in 2025–2026, broadening the organisation’s expertise.

The directors who held office during the year and up to the date of signature of the financial statements were as follows:

• A Alleyne – Chair

• G Carley

• L James

• J Chandler-Hawkins

• K Griffiths – joined 2025–2026

• J Milton – joined 2025–2026

• C Beare – joined 2025–2026

R Butler is a non-executive adviser to the Board of Directors. He sits in an advisory capacity with no voting rights.

G Benson continues to be our Honorary Life President.

The Board continues to provide strong governance and strategic oversight as Screen South enters its next phase of development to create lasting public value for communities across Kent, the South East and beyond.

In accordance with the company's articles, a resolution proposing that Azets Audit Services be reappointed as auditor of the company will be put at a General Meeting.

So far as each person who was a director at the date of approving this report is aware, there is no relevant audit information of which the company’s auditor is unaware. Additionally, the directors individually have taken all the necessary steps that they ought to have taken as directors in order to make themselves aware of all relevant audit information and to establish that the company’s auditor is aware of that information.

The accounts are prepared on a going concern basis, the use of the going concern basis of accounting is appropriate because there are no material uncertainties related to events or conditions that may cast significant doubt about the ability of the company to continue as a going concern. The Directors have consistently prepared budgets and cashflow forecasts based on confirmed projects. The Directors have prepared cashflow forecasts and income and expenditure projections up to September 2027 which continue to support the going concern basis. 

This report has been prepared in accordance with the provisions applicable to companies entitled to the small companies exemption.

These financial statements have been prepared and delivered in accordance with the provisions applicable to companies subject to the small companies regime.

The directors of the company have elected not to include a copy of the income and expenditure account within the financial statements.true

Screen South is a private company limited by guarantee incorporated in England and Wales. The registered office is Digital Hub, The Glassworks, Mill Bay, Folkestone, Kent, CT20 1JG.

These financial statements have been prepared in accordance with FRS 102 “The Financial Reporting Standard applicable in the UK” (“FRS 102”) and the requirements of the Companies Act 2006 as applicable to companies subject to the small companies regime. The disclosure requirements of section 1A of FRS 102 have been applied other than where additional disclosure is required to show a true and fair view.

The financial statements are prepared in sterling, which is the functional currency of the company. Monetary amounts in these financial statements are rounded to the nearest £.

The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.

The accounts are prepared on a going concern basis, the use of the going concern basis of accounting is appropriate because there are no material uncertainties related to events or conditions that may cast significant doubt about the ability of the company to continue as a going concern. The Directors have consistently prepared budgets and cashflow forecasts based on confirmed projects. The Directors have prepared cashflow forecasts and income and expenditure projections up to September 2027 which continue to support the going concern basis. true

All income is included in the Income and Expenditure Account when the company is legally entitled to the income after any performance conditions have been met, the amount can be measured reliably and it is probable that the income will be received.

We have received income comprising of funding from:

Arts Council England, National Lottery Heritage Fund, the British Film Institute, Ashford Borough Council, Folkestone and Hythe District Council, Kent County Council, Hampshire Chamber of Commerce, Kent County Council, Art Fund, Department for Work and Pensions (Access to Work), Violet Pictures, Creative Folkestone, Folkestone Town Council, Janus Foundation, Royal Holloway University, Museum of London

Expenses include VAT where applicable as the company cannot reclaim it.

Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.

Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:

The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is credited or charged to surplus or deficit.

At each reporting period end date, the company reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any). Where it is not possible to estimate the recoverable amount of an individual asset, the company estimates the recoverable amount of the cash-generating unit to which the asset belongs.

Recoverable amount is the higher of fair value less costs to sell and value in use. In assessing value in use, the estimated future cash flows are discounted to their present value using a pre-tax discount rate that reflects current market assessments of the time value of money and the risks specific to the asset for which the estimates of future cash flows have not been adjusted.

If the recoverable amount of an asset (or cash-generating unit) is estimated to be less than its carrying amount, the carrying amount of the asset (or cash-generating unit) is reduced to its recoverable amount. An impairment loss is recognised immediately in surplus or deficit, unless the relevant asset is carried at a revalued amount, in which case the impairment loss is treated as a revaluation decrease.

Recognised impairment losses are reversed if, and only if, the reasons for the impairment loss have ceased to apply. Where an impairment loss subsequently reverses, the carrying amount of the asset (or cash-generating unit) is increased to the revised estimate of its recoverable amount, but so that the increased carrying amount does not exceed the carrying amount that would have been determined had no impairment loss been recognised for the asset (or cash-generating unit) in prior years. A reversal of an impairment loss is recognised immediately in surplus or deficit, unless the relevant asset is carried at a revalued amount, in which case the reversal of the impairment loss is treated as a revaluation increase.

Cash and cash equivalents are basic financial assets and include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.

The company has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the company's balance sheet when the company becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

Financial liabilities and equity instruments are classified according to the substance of the contractual arrangements entered into. An equity instrument is any contract that evidences a residual interest in the assets of the company after deducting all of its liabilities.

Basic financial liabilities, including creditors, bank loans, loans from fellow group companies and preference shares that are classified as debt, are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of business from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

Changes in the fair value of derivatives that are designated and qualify as fair value hedges are recognised in profit or loss immediately, together with any changes in the fair value of the hedged asset or liability that are attributable to the hedged risk.

The company has obtained exemption from the Revenue Commissioners in respect of corporation tax, it being a company not carrying on a business for the purposes of making a profit.

Rentals payable under operating leases, including any lease incentives received, are charged to profit or loss on a straight line basis over the term of the relevant lease except where another more systematic basis is more representative of the time pattern in which economic benefits from the leases asset are consumed.

In the application of the company’s accounting policies, the directors are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.

The average monthly number of persons (including directors) employed by the company during the year was:

The company is limited by guarantee, not having a share capital and consequently the liability of members is limited, subject to an undertaking by each member to contribute to the net assets or liabilities of the company on winding up such amounts as may be required not exceeding £1.

As the income statement has been omitted from the filing copy of the financial statements, the following information in relation to the audit report on the statutory financial statements is provided in accordance with s444(5B) of the Companies Act 2006.

The auditor's report is unqualified and includes the following:

In our opinion the financial statements:

• give a true and fair view of the state of the company's affairs as at 31 March 2026 and of its surplus for the year then ended;

• have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and

• have been prepared in accordance with the requirements of the Companies Act 2006.

At the reporting end date the company had outstanding commitments for future minimum lease payments under non-cancellable operating leases, as follows:

During the year the company entered into the following transactions with related parties:

A Alleyne (Director) £250 (2025: £1,000) - pitch session panel member

J Hawkins (Director) £57 (2025: £82) - travel expenses reimbursed

J Nolan (CEO) £4,346 (2025: 4,993) - travel and subsistence expenses

J Milton (Director) £91 (2025: £nil) - travel and subsistence expenses

K Griffiths (Director) £45 (2025: £nil) - travel and subsistence expenses

N Herd (husband of J Nolan) £408 (2025: £1,935) - travel and subsistence expenses

X Nolan (nephew of J Nolan) £700 (2025: £nil) - technical installation

At 31 March 2026 J Nolan was owed £2,232 (2025: £3,386).