Anyone who’s observed structural inequalities in the film industry over decades could be forgiven for a certain cynicism at the enthusiasm with which organisations recently slapped smug messages in support of Black Lives Matter on their websites, having done nothing themselves to promote inclusivity since the last outpouring of fine words. Or, in the polite officialise used by the British Film Institute in a report that was published four years ago: “There is . . . little to suggest that these interventions have to date had any success at addressing the underlying causes of inequality or the existence of barriers to equal participation.”