Trump’s 100% Tariff on Foreign Films – A UK Marketer’s Perspective

When I first heard about Donald Trump’s proposal of a 100% tariff on foreign-made films, I nearly spilled my coffee. As a UK-based marketing consultant (and former film industry bod with projects and friend's projects currently distributed by American companies), I feel a mix of curiosity, and a dash of déjà vu. I’ll walk you through my analysis and reaction to this plot twist in trade policy, examining what it means for UK and US filmmakers, global distribution, and the wider entertainment economy. Let’s dive into this transatlantic drama.

What Is Trump’s 100% Tariff on Foreign Films?

In early May 2025, former U.S. President Donald Trump announced via Truth Social that he’s authorising a 100% tariff on “any and all movies” produced outside the United States wdwnt.com. In plainer terms: any film made in a foreign country (say, the UK, Canada, or New Zealand) would face a 100% import tax if it’s brought into the U.S. for distribution. Trump justified this dramatic move by declaring that “The Movie Industry in America is DYING a very fast death” and accusing other countries of luring away U.S. filmmakers with incentives – a “concerted effort by other Nations” that he labelled a national security threat and even “messaging and propaganda”. Yes, you read that right – in Trump’s view, foreign-made films aren’t just competition, they’re akin to enemy propaganda!

This announcement landed like a bombshell in the film world. Industry insiders reacted with “shock and confusion”, to quote Variety. As one baffled UK producer put it, “This makes no sense… It implies that a U.S. film is meant to shoot in the U.S. But the ‘Harry Potter’ films, ‘Lord of the Rings,’ ‘Schindler’s List,’ ‘Mission: Impossible,’ ‘Gladiator,’ ‘The Aviator’ and so many more are U.S. films that shot overseas for obvious reasons” wdwnt.com.

In other words, Hollywood has always been a global enterprise – from Hogwarts to Middle-earth – and suddenly slapping a huge tariff on foreign production feels, well, absurd. A London-based producer warned that “If this goes the distance, it will decimate the industry… Would you just double their costs? None of this has been thought through” wdwnt.com. Clearly, many filmmakers see this as a blockbuster policy with a terrible script.

From the U.S. side, there’s a flurry of uncertainty. The White House said it was still figuring out how to implement Trump’s directive. Details are murky: Will this tariff apply to movies already in production or post-production? What about streaming releases versus cinema releases? – Nobody knows yet. What we do know is that Trump has a history of using tariffs as his go-to move (“tariff man,” he once proudly called himself), having already imposed steep duties on Chinese goods and floated tariffs on autos, steel, aluminium, and more. Now, films have been dragged into the trade war spotlight.

So, why is Trump doing this? Politics aside, he claims it’s to “Make Hollywood Great Again” by forcing studios to film in the U.S. The notion is that other countries’ tax breaks and subsidies “steal” American jobs and box-office revenue. Indeed, places like Canada, the UK, and New Zealand have offered generous incentives to attract film shoots. This has drawn big productions abroad – think of New Zealand’s Lord of the Rings tourism boom and billions in revenue from hosting Hollywood shoots. Trump’s tariff gambit seems intended to reverse that trend. However, as we’ll explore, the cure might be worse than the disease for both American and British filmmakers.

Implications for UK Filmmakers and US Productions Abroad

From where I sit in the UK, this proposed 100% film tariff raises big red flags for creators on both sides of the pond. Here’s why:

• Hollywood Loves Filming in the UK (and Elsewhere): The UK has long been a favoured playground for American studios. Our state-of-the-art facilities (hello, Pinewood Studios) and attractive tax rebates have enticed countless U.S. productions. Marvel blockbusters, Star Wars spin-offs, the upcoming Avengers: Doomsday and Fantastic Four films – a huge chunk of these were or are being filmed on UK soil wdwnt.com. In fact, both parts of Universal’s new Wicked and the live-action How to Train Your Dragon wrapped shooting in the UK and Ireland wdwnt.com. Under Trump’s tariff, all these projects – despite being American-funded and destined for global audiences – could be deemed “foreign” just because they leveraged global locations. They’d face double costs when importing the finished film back to the U.S. (an ironic twist for films about magic and dragons!). This might strongly discourage U.S. studios from filming abroad, dealing a blow to the UK film industry which thrives on international projects.

  
  

• British Film Exports to the U.S.: Now flip the coin – consider British filmmakers. As someone who’s worked on indie UK films to U.S. distributors, I know how crucial the American market is. A 100% tariff is essentially a doubling of cost for any U.K. movie trying to get into U.S. cinemas. Imagine a British-produced hit like The King’s Speech or a breakout Sundance darling having its U.S. release price tag suddenly doubled – many distributors might simply pass. Fewer American acquisitions of UK films means fewer deals, lower revenues, and a smaller audience for our creatives. It’s a potential chokehold on transatlantic film flow. One could say it’s like putting up a new “Wall”, but this time around Hollywood instead of on the Mexico border.
  

• Jobs and Productions at Stake: The UK film industry doesn’t just produce British stories; it’s deeply integrated with Hollywood’s production pipeline. Our crews, studios, VFX houses, and actors (yes, including those many British leads in “American” blockbusters) could all feel the pinch. If Hollywood decides it’s too costly to shoot in Britain (or anywhere outside the U.S.), we could see job losses and investment drops in UK production hubs. Screen industry experts in Australia have already sounded the alarm that Trump’s move “will send shock waves worldwide” and underscores the need for countries to build resilient local industries to withstand such shocks. The UK is no exception – we’d need to brace for impact.
  

• Uncertain Definitions – What Counts as a “Foreign” Film? There’s also a Kafkaesque question: how to define a film’s nationality in a globalized industry? Many films today are co-productions spanning multiple countries. Take Mission: Impossible – Dead Reckoning, which shot action sequences in Italy, UK, and Norway, but also on U.S. soundstages. Is it a “foreign” film? The tariff plan as stated is sweeping – “any and all movies… produced in Foreign Lands” wdwnt.com – which suggests even partly-foreign productions could be taxed. If so, studios might respond by reshuffling where they film to ensure a “Made in America” label. But until rules are clarified, it’s chaos: producers are unsure whether projects already filming overseas will be grandfathered in or slapped with fees, and whether TV shows and streaming movies are included or just theatrical films. As one London producer noted, “When does it come into effect? … What about movies in pre-production, shooting or in post? … None of this has been thought through” wdwnt.com. In short, confusion reigns, and uncertainty is the enemy of business.
  

• Possible Retaliation or Copycats: There’s also a diplomatic angle. If the U.S. taxes foreign films, other countries might not sit quietly. Could we see a scenario where Britain or EU countries impose their own tariffs or quotas on U.S. movies in response? (Europe has historically had screen quotas to boost local films, but a tit-for-tat escalation would be new). At the very least, this move could frost up cultural exchange. The UK government, I suspect, would lobby intensely against any U.S. policy that harms British creative exports. (Australia’s officials have already vowed to stand up “unequivocally” for their screen industry.) We might witness some tense negotiations behind the scenes – Hollywood studios and international trade reps hashing out what counts as fair play.
  

In sum, the implications for UK filmmakers and U.S. productions that venture overseas are profound. It threatens to upend the business model of global filmmaking that’s been built over decades. For an industry that just navigated a pandemic and major strikes, this tariff is like a sudden earthquake on the heels of a storm.

Global Distribution and the Wider Entertainment Economy

Let’s zoom out and look at global distribution and the broader entertainment economy. Movies don’t exist in a vacuum – they’re part of a complex ecosystem of cinemas, streaming platforms, and international audiences. Trump’s tariff proposal could ripple through this ecosystem in several ways:

• American Audiences & Content Variety: If implemented, U.S. theatres might drastically cut back on foreign films (from British period dramas to French art-house flicks) because importing them would be exorbitantly expensive. To be fair, Hollywood films already dominate American screens – in 2023, American movies accounted for a massive trade surplus of $15.3 billion and $22.6 billion in exports, and domestic box office is overwhelmingly captured by U.S. productions. But American cinephiles who do enjoy foreign fare (think of Oscar-winning imports like Parasite or The Artist, or beloved UK franchises like Downton Abbey) could find far fewer options at the local cinema. It’s a bit ironic: a policy aimed at helping the U.S. film industry might also limit Americans’ cultural diet and reduce the diversity of films in the market.
  

• Global Box Office & Release Strategies: Major blockbusters rely on global box office to recoup their budgets. A Marvel or DC film might gross 60-70% of its revenue abroad. Now, Trump’s tariff targets imports into the U.S., not exports going out, but consider this: global co-productions could become trickier. Studios might avoid shooting in certain countries or casting international talent if it jeopardizes their “U.S.-made” status. That could indirectly stifle creative collaboration across borders. Furthermore, non-U.S. filmmakers might pivot their release strategies – for instance, focusing more on Europe and Asia if the U.S. market erects barriers. We could even see staggered releases where a British film skips U.S. theaters and goes straight to streaming in America to dodge tariffs (if streaming isn’t taxed, that is). This leads to the next point…
  

• Streaming Platforms – Loophole or Next Target? Streaming has been a wild west for content distribution. If a British film debuts on Netflix US, would the U.S. government even have a mechanism to impose a tariff? It’s not a physical import; it’s bits and bytes over the internet. This gray area could mean that streaming platforms become a loophole to get foreign content to viewers without import taxes. However, before we get too comfy, note that regulators might attempt to extend tariffs or fees to streaming licensing deals as well (a logistical nightmare, but not inconceivable in a protectionist climate). As of now, the administration hasn’t clarified if the tariff would apply to streaming content or just traditional movie imports. I suspect streaming companies are watching closely – they could either become the saviors of foreign content in America or the next ones in the trade war crosshairs.
  

• The China Factor & Trade Wars: We should also frame this in the context of ongoing trade tensions. Trump’s move on films comes amid an escalating trade war with China, the world’s second-largest film market. China itself strictly limits foreign (especially U.S.) films on its screens to protect domestic studios. Trump’s tariff could be seen as a retaliatory echo – “if you restrict our films, we’ll tax yours.” But here’s the catch: China’s share of films in the U.S. market is minuscule compared to Hollywood’s share in China. In fact, Hollywood has generally been winning on the global stage (even a Chinese blockbuster like Ne Zha 2 made only ~$21 million in North America, while cleaning up $2 billion at home). So some economists argue the U.S. film industry isn’t actually under threat from imports; it’s the dominant exporter. Imposing tariffs might start unnecessary skirmishes and disrupt the healthy global flow of content that, up until now, has been a two-way street (albeit with Hollywood in the driver’s seat).
  

• Wider Economy & Ancillary Sectors: Think beyond studios and theatres. The entertainment economy includes tourism, merchandising, and local businesses. Countries like New Zealand leveraged film productions to boost tourism (Middle-earth tours, anyone?). The UK benefits from Hollywood shoots not just via studio rentals, but by hotel stays, catering, and local spend. If big productions retreat to the U.S., those local economic boosts shrink – which in turn might make foreign governments less inclined to invest in film infrastructure. Additionally, U.S. states like Georgia, New York, and California have their own internal competition to attract productions with tax credits. A federal tariff might override those efforts by forcing everything home, but at what cost? It’s a complex economic dance, and a unilateral tariff is like suddenly changing the music – some dancers (businesses) might stumble.
  

In a globally interconnected industry, drastic moves like a 100% film tariff are destined to create winners and losers. The worry among many of us is that it could become a lose-lose: hurting international creators and not really helping the U.S. industry as intended. But it’s not all doom and gloom – there are some potential opportunities in this upheaval, especially for the UK.

Impact on Streaming Platforms and Opportunities for UK Digital Platforms

As traditional film distribution faces this tariff turmoil, streaming platforms and digital distribution are the obvious pressure valves – or shall I say, the new heroes poised to swoop in.

First, let’s consider the big global streaming players (Netflix, Amazon Prime Video, Disney+, etc.). These services thrive on offering content from everywhere to everyone. If theatrical distribution of foreign films in the U.S. becomes costly, streaming might pick up the slack by licensing more international films for online release. For example, a British indie film that might have struggled to get a U.S. theatrical deal (with a tariff attached) could instead land on Netflix US, reaching audiences without crossing a customs checkpoint. In theory, this means viewers might increasingly turn to streaming for diverse content while theaters stick to mostly American-made blockbusters. Streaming was already on the rise; a tariff might unintentionally turbocharge that trend. (One could imagine Netflix quietly thanking the tariff for driving more eyeballs their way.)

Now, from a UK perspective, here’s where it gets interesting: opportunities for UK-based streaming and distribution platforms. Our homegrown platforms like BritBox and ITVX come into focus.

• BritBox – a joint venture between the BBC and ITV – has been carving a niche by streaming British television and films to the world (including the U.S.). If American media companies start cutting back on importing UK content, BritBox could step in as a direct bridge to U.S. consumers who crave British shows and movies. In fact, BritBox is already available in the U.S. and has a dedicated fan base for British classics and exclusives. Under a high-tariff regime, BritBox might double down on distributing British films that can’t easily get U.S. theatrical distribution. It’s a way to sidestep the tariff – a digital end-run around a physical trade barrier. (Tariffs typically apply to imported goods; a British film streamed online in New York isn’t arriving in a shipping container at customs.) BritBox could market itself as the destination for U.K. content in the U.S., turning a challenge into a growth opportunity.
  

• ITVX – ITV’s new streaming service – is primarily UK-focused (it’s the revamped version of ITV Hub, with a bigger library and originals). It’s not in the U.S. yet as a standalone, but the principle here is about strengthening UK distribution channels for UK audiences. If fewer American films make it over here or if co-productions stall, UK audiences might lean more on domestic content. ITVX has seen rapid growth since its launch (logging over 2.7 billion streams in its first year – the fastest growing UK streaming service) itv.com. That momentum can be harnessed to keep British viewers satisfied with quality homegrown entertainment, especially if Hollywood output becomes more insular or expensive. Likewise, the BBC’s iPlayer and Channel 4’s All4 can capitalize by highlighting British films and shows. The UK industry might rally to produce more local content to fill any gaps left by big U.S. tentpoles.
  

• Other Digital Avenues: Beyond the known platforms, there’s room for innovation. Perhaps we’ll see more direct-to-consumer releases from British filmmakers, where a film is released online globally without a traditional distributor – effectively avoiding tariffs by not going through the import process at all. Niche streaming services or virtual film festivals could flourish, connecting content with audiences irrespective of international trade barriers. As a marketing consultant, I’d advise filmmakers to embrace digital distribution strategies even more now, as they provide flexibility in unpredictable regulatory climates.
  

• Collaboration with Streamers: Interestingly, U.S.-based streamers (like Netflix, Amazon) might increasingly invest in UK productions but then release them globally via their platforms. Netflix already finances a lot of British content – they might do even more if theatrical becomes tricky, because they know they can stream it directly to U.S. subscribers. This could mean more British stories told, albeit under the banner of an American streamer. The silver lining: money flows into UK production, and our talents get showcased, tariff or no tariff.
  

In essence, streaming platforms could soften the blow of Trump’s tariff proposal. And for UK’s digital platforms, this could be a catalyst to step up their game, strengthening local distribution networks and ensuring that British (and other foreign) content still reaches audiences across borders. It’s a bit like water finding a way around a dam – block the traditional channels, and the content will find new routes.

How Industry Players Might Navigate These Changes

By now it’s clear the proposed tariff could rewrite the rules of the film business. So, how might creators, studios, and business owners navigate this potential shake-up? Here are some practical takeaways and reflections:

1. Stay Informed & Engage in Dialogue: First and foremost, industry players need to keep a close eye on policy developments. This tariff idea is still just a proposal – no final decisions have been made yet – and the specifics could evolve (or fizzle out). Filmmakers and business owners should support their industry guilds and trade organizations in lobbying for clarity and rational outcomes. It’s encouraging that voices from Hollywood to Wellington are speaking up; unified industry pushback might influence how (or if) these tariffs are implemented.
   

2. Re-evaluate Production Strategies: Studios and producers may start recalculating the economics of filming locations. If you’re a U.S. studio, do you keep shooting in the UK for that perfect backdrop and 25% tax credit, or do you play it safe in Atlanta or L.A. to dodge a potential tariff? Every project will need a risk assessment. Some may hedge bets by splitting production – filming part in the U.S. to claim an “American” stamp, even if other parts shoot abroad. UK production companies working with American partners might proactively discuss these concerns and perhaps structure co-productions so that the “made in” attribution is less clear-cut (creative accounting might get a new meaning!). It’s not ideal, but it’s pragmatic planning.
   

3. Budget for the Worst-Case Scenario: For ongoing projects that could be affected, prudent business owners will budget contingency funds. If you’re a distributor eyeing that hot new French film, factor in the possibility of a tariff doubling your costs. If it doesn’t happen – great, you have savings. If it does, you’re prepared. This might also lead to more insurance products or completion bonds covering “political risk” for films – something usually reserved for unstable countries, now possibly needed for the U.S. market!
   

4. Strengthen Home Markets: As noted, one silver lining is the impetus to bolster domestic distribution. Creators should look at their home turf and other international markets as key targets. A UK filmmaker, for instance, might increase focus on UK cinema releases, European tours, and streaming deals in non-U.S. territories to ensure the film’s success isn’t solely pinned on a U.S. deal. Essentially, diversify your audience base so no single country’s policy can sink your ship. In the same vein, UK distributors and streaming services can invest more in local content, making sure British audiences have plenty of high-quality British films to enjoy (especially if fewer Hollywood blockbusters come through unscathed).
   

5. Explore Direct-to-Consumer and Niche Platforms: If traditional pipelines face roadblocks, go round them. This might be a great time for filmmakers to explore releasing content on global VOD platforms, or even via NFTs and blockchain-based distribution for the tech-savvy (yes, that’s a thing now in indie circles). Niche U.S. platforms that specialize in foreign films might arrange innovative ways to license content without incurring massive fees – for example, bundling films as “cultural programs” or partnering with festivals. Creativity in distribution can match creativity in production.
   

6. Collaborate and Adapt: Finally, the industry should remember it’s a global community. U.S. and UK filmmakers can find common cause here – no one wants to see stories limited by borders. It may be time for some creative collaborations: for instance, U.S. studios partnering more deeply with UK studios in “in-country production” ventures (setting up satellite studios in America for part of the work, while still leveraging UK talent remotely). Or UK companies could seek partnerships in markets unaffected by U.S. tariffs to co-finance projects. Flexibility and adaptability will be key. As a marketing pro, I’ve learned that agility wins when conditions change – the same holds true for the film biz.
   

Conclusion: Rolling Credits on a Changing Industry

Watching this “Trump 100% tariff on foreign films” saga unfold feels a bit like sitting through a tense political thriller – one where I’m personally invested in the outcome. From my British vantage point, I’ve navigated through initial shock, analysed the potential fallout, and even spotted some opportunities hidden in the chaos.

In conclusion, this proposed tariff is a dramatic development that could reshape how and where movies get made and seen. It raises costs, questions, and no small amount of anxiety across the industry. But it’s also a wake-up call. It reminds UK and US filmmakers alike just how interconnected we are, and how policy decisions can send “shock waves worldwide” through our creative economy.

For UK industry players, the message might be: keep calm, carry on – and get clever. Strengthen our own distribution channels, double down on the uniqueness of British content, and be ready to pivot if the U.S. market throws up hurdles. For the American industry, there’s a soul-searching aspect: Hollywood may need to prove that it can thrive without isolating itself, and that nurturing global partnerships doesn’t mean undermining national interests.

As I file these thoughts, the future of the tariff is still uncertain – it could become a new reality or fade away as a negotiating tactic. Either way, it’s sparked valuable conversations.

If Trump’s tariff idea does one good thing, perhaps it will galvanise creators and businesses to innovate in the face of adversity. As a consultant (and optimist at heart), my final reflection is this: the entertainment industry has survived world wars, streaming revolutions, and yes, political extremes. Storytellers are a resilient bunch. Tariff or no tariff, they’ll find a way to bring stories to audiences. It might just require a few extra plot twists in the distribution strategy.

Practical Takeaway: Stay agile and informed. Whether you’re a filmmaker, a studio exec, or a streaming guru, use this moment to review your playbook. Invest in what you can control (like your local networks and digital avenues), and be ready to adapt where you can’t. The cameras will keep rolling, and as an industry, we’ll say “action” on the next chapter – hopefully one with a happier ending for all.

sources: Current news references and trade policy data have been cited throughout (e.g., Trump’s statementswdwnt.com, industry reactionswdwnt.comwdwnt.com, and international context) to ensure accuracy and provide further reading on this developing story.