Hidden Art Films

Hidden Art Films Powerful stories transformed to films by producer Adam Gregory Smith.

The UK film industry is bursting with talent and we’re proud to be part of it.Here’s a first teaser from our latest proj...
23/04/2026

The UK film industry is bursting with talent and we’re proud to be part of it.

Here’s a first teaser from our latest project, Ratling. Directed by Nicole Pott and produced by Hidden Art Films, brought to life by an incredible cast and crew.

More coming very soon!

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Not every production company fits into a box... and we’re okay with that.At Hidden Art Films, we’ve worked across drama,...
22/04/2026

Not every production company fits into a box... and we’re okay with that.

At Hidden Art Films, we’ve worked across drama, comedy, and animation.

On paper, that lack of a clear niche isn’t always the “smart” move. We’ve seen projects move faster simply because they’re easier to define.

But our instinct has always been different, because for us, genre is just the surface.

The comedy? Still rooted in drama.
The animation? Still rooted in emotion.

What we’re really drawn to are stories with something underneath, something that lingers beyond the frame.

That’s what Hidden Art means.

Not just what you see on screen, but the meaning, the feeling, the ideas that sit beneath it.

That’s the work we care about. And the stories we’ll always tell.


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Every production company develops a creative instinct over time. This is ours.At Hidden Art Films, we’ve never fit neatl...
22/04/2026

Every production company develops a creative instinct over time. This is ours.

At Hidden Art Films, we’ve never fit neatly into a single niche.

We’ve worked across drama, comedy, and animation and we’re fully aware that, on paper, that can make things harder. In an industry where clarity and categorisation often help projects move faster, not fitting into a defined box isn’t always the most straightforward path.

And yes... we’ve seen that play out.

But our instinct has always been to follow something else.

Because for us, genre is only ever the surface layer.

A comedy still carries emotional truth.
An animation still holds dramatic weight.

What matters to us is what sits underneath.

The tone. The meaning. The emotional core that connects with an audience and stays with them beyond the final frame.

That idea is at the heart of everything we do and it’s where the name Hidden Art comes from.

Because filmmaking isn’t just about what you see on screen.

It’s about what you feel. What you take away. What lingers.

That’s the work we’re interested in.
And that’s the instinct we’ll keep following.

16/04/2026

- The Backseat. But the real story starts before the film.

Following on from yesterday’s post about the role music played in shaping The Backseat, it feels right to rewind even further - to the moment the project became something real.

12 years ago, The Backseat became the first film we produced with external funding - a milestone that completely changed the trajectory of everything that followed.

Up until that point, so much existed in theory.
Ideas being developed. Plans being made. Ambition building in the background.

But securing that funding created a shift.

It meant commitment.

It meant setting up the company properly.
Opening a bank account.
Putting structure around something that had previously just been potential.

And that’s what made The Backseat different.

It wasn’t just another short film - it was the catalyst.

The project that forced everything to move from “one day” to “this is happening.”

Looking back now, it’s clear that moment carried far more weight than we realised at the time. Because over a decade later, that decision still echoes through everything we do.

It’s easy to focus on the finished film - the screenings, the festivals, the creative outcomes.

But often, the real story is in the decision to begin.

Every career has a project that changes everything.
This was ours.

You can watch the full film on our YouTube Channel - https://www.youtube.com/watch?v=bbKNEG9vMAo

Sometimes the most powerful creative decisions come from changing direction.Since National Film Score Day earlier this m...
15/04/2026

Sometimes the most powerful creative decisions come from changing direction.

Since National Film Score Day earlier this month, we’ve been reflecting on the role music plays in shaping a film - not just emotionally, but practically.

Back in 2016, whilst producing The Backseat, we initially had our sights set on using music from a well-known artist. Like many filmmakers, we were drawn to the familiarity and impact that established names can bring.

But as we explored the licensing, it became clear that while festival use was possible, long-term, worldwide rights were far more complex.

And that’s when the creative pivot happened.

Instead of trying to force a solution, we chose to collaborate with an independent artist - Shay Mula (formerly Shay D) - someone who could rework tracks from her own catalogue specifically for the film.

What followed wasn’t just a practical solution, it became a creative breakthrough.

With a single agreement, we secured full rights, giving the film the freedom to live beyond festivals, to be shared, distributed, and revisited years later without restriction.

But more importantly, the music became something deeper than we’d originally imagined.

It didn’t just accompany the film - it helped define its tone, its rhythm, and its emotional core.

Now, a decade later, the film still exists exactly as it was created. No compromises. No limitations.

And that’s the real takeaway.

Sometimes the right creative partner isn’t the most obvious one — it’s the one who helps your film become what it’s meant to be.

09/04/2026

- Hope Is Lost. World Premiere. BFI London Film Festival.

Late 2025 - and a night that will always stand out in our journey.

Our short animated film Hope is Lost had its World Premiere at the BFI London Film Festival, screening in competition as part of the short film programme.

To present work at the BFI is something you never take lightly. It remains one of the most respected and prestigious platforms in world cinema, and to be selected is a genuine reflection of the craft, the storytelling, and the people behind the work.

But nights like this are never about just one person - or even one team. They’re about collaboration.

This film belongs to Eno Enefiok whose vision, creativity and persistence carried Hope Is Lost from idea to screen.

And to Rakie Ayola, whose voice performance brings a depth and emotional weight to the film that elevated it far beyond what we imagined.

Standing on stage, introducing the film to a full audience, knowing the journey it took to get there - it’s a moment that stays with you. And a reminder of why we do this.

At Hidden Art Films, we believe the work we make is only as powerful as the people we collaborate with. The level of emerging talent in the UK right now is extraordinary - and Eno is a perfect example of that.

We’re incredibly proud to have played a part in bringing this film to life.

🎬 Getting your film into festivals isn’t luck — it’s a strategy.Over the years, we’ve submitted films, received the “unf...
08/04/2026

🎬 Getting your film into festivals isn’t luck — it’s a strategy.

Over the years, we’ve submitted films, received the “unfortunately” emails, celebrated selections, and learned (sometimes the hard way) how the process really works.

If you’re about to start your festival run, here are three things we wish every filmmaker knew:

1. Early bird submissions are more powerful than you think.
Festival programmers are human. The first standout film they see in a category often sets the tone - and stays in their mind as they build the programme.

If your film is topical, it’s worth remembering that other filmmakers may be exploring similar ideas. Getting your film in early can give you an advantage before the submissions pile grows.

If you’re still in post, be honest with yourself about what’s left to finish. If it’s a strong fit for a festival, submitting a near-final version can work - just be transparent about what’s still to come. A short note, or even a brief on-screen disclaimer, can make all the difference.

2. A scattergun approach will burn your budget quickly.
Submission fees add up fast - so every choice should be intentional.

Take the time to really study each festival. Not just this year’s programme, but previous editions too. What kinds of stories do they champion? What tone, style, or themes appear consistently?

One thing many filmmakers don’t realise: festivals actively curate variety. If they leaned heavily into a specific theme one year, they may deliberately shift direction the next.

That doesn’t mean your film won’t fit - but it does mean you need to understand how it fits.

If in doubt, reach out. Festivals appreciate filmmakers who’ve done their research.

→ A simple rule: if your film wouldn’t naturally sit alongside their past selections, your submission fee is probably better spent elsewhere.

3. The “unfortunately” email is part of the journey.
We all know the feeling - opening that email and scanning for one word.

And when it’s not the one you hoped for… it stings.

But here’s the reality: you rarely know the full reason. It might be timing. It might be programming balance. It might be that another film with a similar theme arrived earlier, had recognisable talent, or was simply more polished at that moment.

It’s not always about the quality of your film - it’s about the shape of the programme they’re building.

This is an industry and a process. Treat it like one.

Don’t put all your eggs in one festival. Don’t take rejection personally. And most importantly - don’t stop submitting.

Because the “congratulations” email does come… but only if you keep going.

We’ve had the privilege of seeing our work play at festivals around the world - and every single one of those journeys started with hitting “submit.”

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Finally holding a hard copy of the BFI LFF program.  has made an amazing film that is screening to a sold out audience n...
12/10/2025

Finally holding a hard copy of the BFI LFF program.

has made an amazing film that is screening to a sold out audience next week. BUT...

is available to watch on BFI Player. Link in bio.

12/10/2025

Look what we found! short film is being promoted on the Southbank!

Excited to see hard work on screen this week but it is available on BFI Player for FREE.

After the 18th it may be a VERY long time before it's available to the UK public online so do watch it whilst you can.

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