Watch The Children Act 2 Full Movie Online Free



























The Children Act (2017) Film İzle

Filmin Konusu : Yoğun tempoda çalışan İngiliz Yüksek Mahkemesi hakimi Fiona Maye isimli kadının bu davranış tutumu yüzünden kocasını ihmal etmek zorunda kalmıştır. Üstelik bu kısa süreli bir vazifet değil uzun süreli bir haldir. Bu sebepten ötürü kocası Fiona’dan beklediği ilgiyi göremez olmuştur. Bu beklenti ikilinin arasını açar. Fiona, aslında bunu bilinçli yapmamıştır. İşinin yoğunluğundan ve işini severek yaptığından ötürü bilinçsizce bu duruma sürüklenmişlerdir. Fiona için özel hayatı bu denli sıkıntılı ilerleken karşısına çıkan bir dava dosyasıyla hayatı tamamen değişime uğrar. Kısacası davadan bahsedecek olursak, Adam isimli bir gencin dini sebeplerinden ötürü nak nakline karşı çıkmaktadır. Ebeveynleri bu duruma mani olmak ve nakli gerçekleştirmek için adım atmaya karar verirler. Adam’ın yaşamaya devam edebilmesi için bu kan naklini yapmaktan başka seçeneği yoktur. Fiona, karşısına çıkan bu dosyada Adam’ı bizahi hastanede görmek ister. İkili arasında bir çekim oluşur. Adam hakkında son kararı verecek olan Fiona, Adam’ın yaşamasına mı yoksa ölmesine mi karar verecek ? Bu zor kararı alabilmek için Adam’la daha sık görüşmeye başlar. Çünkü Adam’ı tamamen anlamak ister.

Keyifli seyirler diler filmozu2.net

Film Hakkında Bilgiler

Filmin Türü : Dram
Filmin Yapımı : 2017 – İngiltere
Filmin Süresi : 01 Saat 45 Dakika
Filmin Senaristi : Ian McEwan
Filmin Yönetmeni : Richard Eyre
Filmin IMDB Puanı : 6.5
Filmin Vizyon Tarihi : 24 Ağustos 2017
Filmin Başrol Oyuncuları : Emma Thompson, Stanley Tucci, Fionn Whitehead, Ben Chaplin, Jason Watkins, Anthony Calf, Rosie Cavaliero, Nikki Amuka-Bird, Rupert Vansittart, Nicholas Jones, Eileen Walsh, Andrew Havill, Dominic Carter, Shaquille Ali-Yebuah, Daniel Eghan
Filmin Orjinal (Diğer) Adı : The Children Act

Yapım : 2017 – İngiltere

Yönetmen : Richard Eyre

Oyuncular : Emma Thompson, Stanley Tucci, Fionn Whitehead, Ben Chaplin, Jason Watkins, Anthony Calf, Rosie Cavaliero, Nikki Amuka-Bird, Rupert Vansittart, Nicholas Jones, Eileen Walsh, Andrew Havill, Dominic Carter, Shaquille Ali-Yebuah, Daniel Eghan

Children Act 1989

You are here:

  • 1989 c. 41
  • Table of Contents

What Version

  • Latest available (Revised)
  • Original (As enacted)

Opening Options

Changes to legislation:

There are outstanding changes not yet made by the legislation.gov.uk editorial team to Children Act 1989. Those changes will be listed when you open the content using the Table of Contents below. Any changes that have already been made by the team appear in the content and are referenced with annotations.

Changes to Legislation

Revised legislation carried on this site may not be fully up to date. Changes and effects are recorded by our editorial team in lists which can be found in the ‘Changes to Legislation’ area. Where those effects have yet to be applied to the text of the legislation by the editorial team they are also listed alongside the affected provisions when you open the content using the Table of Contents below.

Options/Help

Print Options

Print Table of Contents

Print The Whole Act

You have chosen to open The Whole Act

The Whole Act you have selected contains over 200 provisions and might take some time to download. You may also experience some issues with your browser, such as an alert box that a script is taking a long time to run.

Would you like to continue?

You have chosen to open The Whole Act as a PDF

The Whole Act you have selected contains over 200 provisions and might take some time to download.

Would you like to continue?

You have chosen to open the Whole Act

The Whole Act you have selected contains over 200 provisions and might take some time to download. You may also experience some issues with your browser, such as an alert box that a script is taking a long time to run.

Would you like to continue?

You have chosen to open the Whole Act without Schedules

The Whole Act without Schedules you have selected contains over 200 provisions and might take some time to download. You may also experience some issues with your browser, such as an alert box that a script is taking a long time to run.

Would you like to continue?

You have chosen to open Schedules only

The Schedules you have selected contains over 200 provisions and might take some time to download. You may also experience some issues with your browser, such as an alert box that a script is taking a long time to run.

Would you like to continue?

Legislation is available in different versions:

Latest Available (revised):The latest available updated version of the legislation incorporating changes made by subsequent legislation and applied by our editorial team. Changes we have not yet applied to the text, can be found in the ‘Changes to Legislation’ area.

Original (As Enacted or Made):The original version of the legislation as it stood when it was enacted or made. No changes have been applied to the text.

Opening Options

Different options to open legislation in order to view more content on screen at once

More Resources

Access essential accompanying documents and information for this legislation item from this tab. Dependent on the legislation item being viewed this may include:

  • the original print PDF of the as enacted version that was used for the print copy
  • lists of changes made by and/or affecting this legislation item
  • confers power and blanket amendment details
  • all formats of all associated documents
  • correction slips
  • links to related legislation and further information resources

All content is available under the Open Government Licence v3.0 except where otherwise stated © Crown copyright

Children Act 2004

You are here:

  • 2004 c. 31
  • Table of Contents

What Version

  • Latest available (Revised)
  • Original (As enacted)

Opening Options

More Resources

Changes to legislation:

Children Act 2004 is up to date with all changes known to be in force on or before 28 August 2018. There are changes that may be brought into force at a future date.

Changes to Legislation

Revised legislation carried on this site may not be fully up to date. Changes and effects are recorded by our editorial team in lists which can be found in the ‘Changes to Legislation’ area. Where those effects have yet to be applied to the text of the legislation by the editorial team they are also listed alongside the affected provisions when you open the content using the Table of Contents below.

Options/Help

Print Options

Print Table of Contents

Print The Whole Act

Legislation is available in different versions:

Latest Available (revised):The latest available updated version of the legislation incorporating changes made by subsequent legislation and applied by our editorial team. Changes we have not yet applied to the text, can be found in the ‘Changes to Legislation’ area.

Original (As Enacted or Made):The original version of the legislation as it stood when it was enacted or made. No changes have been applied to the text.

Opening Options

Different options to open legislation in order to view more content on screen at once

Explanatory Notes

Text created by the government department responsible for the subject matter of the Act to explain what the Act sets out to achieve and to make the Act accessible to readers who are not legally qualified. Explanatory Notes were introduced in 1999 and accompany all Public Acts except Appropriation, Consolidated Fund, Finance and Consolidation Acts.

More Resources

Access essential accompanying documents and information for this legislation item from this tab. Dependent on the legislation item being viewed this may include:

  • the original print PDF of the as enacted version that was used for the print copy
  • lists of changes made by and/or affecting this legislation item
  • confers power and blanket amendment details
  • all formats of all associated documents
  • correction slips
  • links to related legislation and further information resources

Impact Assessments

Impact Assessments generally accompany all UK Government interventions of a regulatory nature that affect the private sector, civil society organisations and public services. They apply regardless of whether the regulation originates from a domestic or international source and can accompany primary (Acts etc) and secondary legislation (SIs). An Impact Assessment allows those with an interest in the policy area to understand:

  • Why the government is proposing to intervene;
  • The main options the government is considering, and which one is preferred;
  • How and to what extent new policies may impact on them; and,
  • The estimated costs and benefits of proposed measures.

More Resources

Use this menu to access essential accompanying documents and information for this legislation item. Dependent on the legislation item being viewed this may include:

  • the original print PDF of the as enacted version that was used for the print copy
  • correction slips

Click ‘View More’ or select ‘More Resources’ tab for additional information including:

  • lists of changes made by and/or affecting this legislation item
  • confers power and blanket amendment details
  • all formats of all associated documents
  • links to related legislation and further information resources

All content is available under the Open Government Licence v3.0 except where otherwise stated © Crown copyright

Where Are They Now? The “Teen” Actors From “Sister Act 2”

In 1992, we were introduced to Whoopi Goldberg’s character of Deloris van Cartier, a failing lounge singer who witnessed a murder and had to take refuge in a convent until she could testify against her ex-boyfriend who committed the murder. The movie was a success and with all successful movies, they wanted to try to capitalize on the magic by making a sequel, and that’s where Sister Act 2 came in.

Deloris donned the habit and reclaimed her place as Sister Mary Clarence to teach a music class to keep the school from closing. Within this music class we came across a bounty of characters. let’s see what they’ve been up to since singing: “If you wanna be somebody, if you wanna go somewhere, you better wake up and pay attention.”

Lauryn Hill/Rita Watson

If we’re gonna start this, we’re gonna start strong, with the wonderfully talented Lauryn Hill. Revealing her beautiful voice and acting chops, Lauryn portrayed the stubborn but hopeful student Rita Watson who was against Sister Mary Clarence’s desire to change their “bird” class into one that they actually learned. But she was eventually persuaded to give it a shot and had all types of solos.

I mean, seriously, we all pretty much know her music history, but did you know that she continued acting? In fact, she was an actress in “As The World Turns” before she did Sister Act 2. She had a few bit pieces here and there, but turned down big parts like in the last two Matrix movies. After Sister Act 2, Lauryn’s group the Fugees made multiple albums, winning awards and accolades. She then went on to make her first solo album that won her Grammys on top of Grammys. The following year she won a Grammy for co-producing Carlos Santana’s album “Supernatural. ” She took a small music hiatus, but released the MTV Unplugged album (which was AMAZING, I don’t care what ANYONE says). She was involved with Wyclef and Rohan Marley, having multiple children with the latter. She also released multiple mixtapes and continues to tour and perform.


In 2012 she plead guilty to tax evasion charges and will be sentenced in November. (Sad face)

Ryan Toby/Ahmal

Ahmal was the intelligent, fact checker (“it’s eclectic, not electric, stupid!”) who surprised even Sister Mary Clarence while performing his solo in “Oh Happy Day!”

In real life, Ryan was in the Grammy nominated group City High who shot to fame with the song “What Would You Do?” The group broke up in 2003, and he released a solo album called: “Soul of a Songwriter.” He continued to sing, produce, and write songs and he’s worked on multiple soundtracks. He got married to former City High group member Claudette Ortiz and the two had a son. But in 2007 they got divorced. He appeared in the movie “Prison Song” with Mary J. Blidge. In 2011, he was featured on Young Buck’s song “Ain’t Slept in Days.”

Alana Uback/Maria

Y’all remember her. She was the one who didn’t know the lyrics to “Mary Had a Little Lamb,” but could sing the theme song to “The Love Boat.”

Alana kept a steady acting schedule by doing a large number of movies, some notable ones were: The Brady Bunch Movie (where she played Marcia’s lesbian friend), Legally Blonde 1 & 2, Meet the Fockers, and Bad Teacher. She also did voice acting in multiple animated shows and movies and appeared in multiple series and sitcoms. As of now she is starring in the Nick at Nite show “See Dad Run” with Scott Baio.

Ron Johnson/Sketch

Sketch was the hard working student who worked the night shift and had problems staying awake in class. He had a talent in drawing and rapping and showcased it in the students rendition of “Joyful Joyful.”

After doing Sister Act 2 Ron was a accused of two accounts of raping two female extras (one extra was from Sister Act 2, and the other was from a previous Oliver Stone movie called Zebrahead,) but was later acquitted of all charges. He’s a father and has kept a relatively low profile and tries to mentor children to keep them from taking the troubled path he initially followed before pursuing acting.

Devin Kamin/Frankie

The smart mouthed student who always had a radio on his desk. Frankie was a good portion of the comedic relief when it came to the class.

After Sister Act 2, he appeared in a few series, like “My So-Called Life,” “Brimstone,” and “Stratus 4.” He also stared in the movie Impact Point.

Tanya Blount/Tanya

The girl with the booming voice. She showcased her talent at the beginning of the movie with “Mary Had a Little Lamb,” and then did the duet with Lauryn Hill “His Eye is On the Sparrow” (which seemed to become almost every black church’s national anthem after the movie).

After the movie, Tanya continued to showcase her voice, was once signed with Bad Boy, and released 3 albums that had multiple singles from them (one which appeared on the “Family That Preys” movie and soundtrack.) She also wrote a book “Through the Rain: 40 Principles to Survive Life’s Challenges” and released a duet Christian album in 2011 with her brother named “Worth it All” with their group “Blount 2 Blount” and is set to release a new album in 2012 entitled “The Return of the Sparrow.”

Jennifer Love Hewitt

Before she was known in Party of Five, yes, Ms. Hewitt had a bit part in Sister Act 2 as a girl who was constantly putting on makeup. But, she put the compact down (after Sister Mary Clarence made her) and sang her heart out to help the choir win the competition.

You all know that she’s a big name in the acting department, but did you know that she was a singer as well? She released four albums and had five singles.

She also had writing credits in “Chicken Soup for the Soul 2,” wrote “The Day I Shot Cupid” and released a comic book series. You can find her still acting in “Hot in Cleveland” and “The Client List.”

Christian Fitzharris/Tyler

The nerdy guy who goes along with the pranks, but almost foils them as well.

After the movie, he went into a career as a circus performer, by joining Cirque du Soleil, which if you haven’t seen it, is AMAZING!! He also is a stand up comedian, documentary filmmaker, and has written a memoir that follows his life of entertainment that was scheduled to be released in 2011.

Monica Calhoun

In Sister Act 2, I think that Sister Mary Clarence only referred to her as “Miss Thing” after treating her for wearing sunglasses in the classroom. But Monica Calhoun had a small part that contributed to her wide array of acting jobs.

After, she went on to be Diamond’s troubled cousin in The Players Club, and was Morris Chestnut’s love interest in The Best Man. After that she continued to work in movies and television roles. She was the protagonist of Robert Townsend’s series “Diary of a Single Mom,” and did series with HBO and PBS.

Trending on MadameNoire

We’ve joined the BHM Digital family of websites and have updated our Terms of Service and Privacy Policy. By continuing to use this site, you agree to our updated Terms of Service and Privacy Policy.

MadameNoire is a sophisticated lifestyle publication that gives African-American women the latest in fashion trends, black entertainment news, parenting tips and beauty secrets that are specifically for black women. Black women seek information on a wide variety of topics including African-American hair care, health issues, relationship advice and career trends – and MadameNoire provides all of that.

MadameNoire ® Copyright © 2018 BossipMadameNoire, LLC All Rights Reserved | BHM Digital

Review: ‘The Children Act,’ by Ian McEwan puts beliefs of Jehovah’s Witnesses on trial

Believers of a millennial bent might consider this a sign: It’s not every summer that we get two dark and serious novels focused on Jehovah’s Witnesses. The first was Scott Cheshire’s “High as the Horses’ Bridles” about a boy preacher who drifts from the faith. And now, the second coming: Ian McEwan’s “The Children Act,” which puts the church’s beliefs on trial. Surely, members of this small Christian sect would prefer, instead, to get their own hilarious Broadway musical, but authors work in mysterious ways.

The two novels have little in common, except that in both a faithless protagonist is deeply shaken by the behavior of a devout Witness. Cheshire’s debut is a roiling storm of conflicting styles and artistic energy, fueled by the author’s autobiographical demons. McEwan, who’s spent more time on the Booker shortlist than in church, has produced a svelte novel as crisp and spotless as a priest’s collar.

“The Children Act” is too long to call a novella, but it has that focused intensity and single arc. At the dramatic center of the story is Fiona Maye, a mature and well-respected British High Court judge in the Family Division. Fiona has devoted much of her career to adjudicating bloody conflicts between once-devoted husbands and wives. Every day, she observes, “Loving promises were denied or rewritten, once easy companions became artful combatants crouching behind counsel, oblivious to the costs.” In her weary astonishment at these savage ex-lovers, one can sense the expertise McEwan gained when his own divorce and custody fight spilled out into the public arena some 15 years ago. But if abusive spouses absorb the bulk of Fiona’s court time, she has also ruled famously in more wrenching matters. With efficiency and elegance so alien to legal writing, McEwan draws us through her reasoning on several cases, such as one involving conjoined twins, whose devout Catholic parents refused to give permission for them to be separated, though doing so was the only way to save one of them. Fiona appreciates that these crises are always wrenching, always murky. She’s suspicious of secular utilitarians who are “impatient of legal detail, blessed by an easy moral equation.”

Given that curriculum vitae, when the central case of this novel arrives, we know Fiona to be a conscientious jurist wholly determined to judge righteous judgment, someone who believes she brings “reasonableness to hopeless situations.”

The call comes late in the evening: A hospital requests an emergency hearing for permission to treat a young leukemia patient who refuses to accept a transfusion that could save his life. Adam Henry and his parents are Jehovah’s Witnesses, who believe that the Bible expressly forbids “mixing your own blood with the blood of an animal or another human being.”

McEwan re-creates the hearing in the brisk style of an ultra-efficient courtroom, the testimonies and examinations proceeding apace, drained of any artificial flourish or suspense. Instead, he designs the facts to make Adam’s case as morally and legally vexed as possible: Just three months shy of his 18th birthday, Adam can already see that promised land in which his right to determine his own health care would be inviolate.

McEwan may be an atheist, but unlike his late friend Christopher Hitchens, he’s a great novelist, not a great polemicist, and he knows that there can be no tension — no art — if Adam and his parents are reduced to ignorant Bible-thumpers clad in what Hitchens called the “heavy coat of ignorance and fear.” Fiona reflects her creator’s fair regard for these Witnesses. She finds their doctor condescending and snobby. She’s sensitive to the way differences in class and education play into her approach to this case, and she knows she’s weighing one of the most fundamental human rights. “Courts should be slow to intervene in the interests of the child against the religious principles of the parents,” Fiona thinks. “Sometimes they must. But when?” Is the state so infallible and supreme that for want of 120 days, a young man should be torn from his family and his community and forced to submit to a medical procedure he abhors?

For his part, McEwan doesn’t venture much into the spiritual dimensions of this conflict. Adam’s devout parents appear only briefly; there’s little effort here to explore their beliefs. But that’s where the novel differs from its controversial premise: “The Children Act” is not primarily about religious radicalism or the conflict between faith and science; it’s about the way a woman’s well-ordered life is shaken by a confluence of youthful passion and old betrayal.

You see, the hospital’s petition involving Adam arrives on the very night Fiona’s husband of 35 years announces that he wants to have an affair. “I need it. I’m fifty-nine. This is my last shot,” he tells Fiona with calm and creepy candor. “I love you, but before I drop dead, I want one big passionate affair.”

In the precisely choreographed pages that follow, McEwan presents a ferociously intelligent and competent woman struggling to rule on a complex legal matter while feeling humiliated and betrayed by her husband. Beneath her formidable wisdom and accomplishments swirl all the old anxieties of loneliness and shame. Fiona knows that “to be the object of general pity was also a form of social death. The nineteenth century was closer than most women thought.” She’s spent decades training her mind to discriminate between relevant and irrelevant facts, to identify patches of fogginess and sentimentality in her thinking, but this crisis at home threatens to disrupt her carefully managed equilibrium. In that disrupted state, she’s moved by Adam’s irrepressible spirit, and she raises expectations that could either save or doom them both.

And who could blame her? In Adam, McEwan has created a captivating creature with the confidence and eery mirth of a young man hovering at the precipice. Distilled by illness, he has only his concentrated naivete left. Even as he struggles to breathe, he’s intoxicated by the fawning attention, the promise of glory, the romantic tragedy of his wasted, blue-veined body. Fiona’s encounters with him are brief, but absolutely captivating — for us and her. Can this famously careful woman be careful enough with his fragile soul to understand the true demands of his welfare?

In the end, McEwan arrives at the same conclusion Hitchens left behind, but there’s no stridency in these pages, which glide from one quietly perfect sentence to another. “The Children Act” doesn’t enact the happy triumph of humanism. Instead, it recognizes how fragile we all are and how cautious we should be about disrupting another’s well-ordered universe. As Emily Dickinson warned, “The Truth must dazzle gradually/ Or every man be blind.” Given its odd subject matter, this is unlikely to be anyone’s favorite McEwan novel, but with its mix of arcane expertise, emotional intensity and especially its attention to the ever-surprising misdirections of the heart, it’s another notable volume from one of the finest writers alive.

Charles is the editor of Book World. His reviews appear in Style every Wednesday. You can follow him on Twitter @RonCharles.

The Criminal Law

The BBFC may not pass any material likely to infringe the criminal law. The key legislation for the BBFC in this area is The Obscene Publications Act 1959 and 1964, The Cinematograph Films (Animals) Act 1937, The Animal Welfare Act 2006 and The Protection of Children Act 1978 as discussed below.

The Obscene Publications Act 1959 and 1964

It is illegal to publish a work which is obscene. The Obscene Publications Act (OPA) was extended to include films and videos in 1977. Prior to that, the only legal test applied to films was the more vague test of common law indecency. Under the OPA, a film may be deemed obscene when, taken as a whole, the work has a tendency to ‘deprave and corrupt’ ‘(ie make morally bad) a significant proportion of those likely to see it. It is important to note that a film must be considered as a whole and that individual scenes must not be judged out of the wider context of the complete work. Even a film that would normally be considered obscene can be shown if ‘it is in the interests of science, art, literature, or learning or of other objects of general concern’.

Crash (1996) was accused by its critics of being obscene, but no prosecution was brought. Indeed, a leading QC gave his opinion that the film was not obscene.

The Cinematograph Films (Animals) Act 1937

This law was passed in response to widespread public concern about the mistreatment of animals on film sets, especially in Westerns. Its intention was to prohibit the exhibition of films that had involved the deliberate infliction of cruelty by film makers, in order to encourage them to use more humane techniques. It is therefore illegal to show any scene ‘organised or directed’ for the purposes of the film that involves actual cruelty to animals. This Act applies to the exhibition of films in public cinemas, but the BBFC also applies the same test to DVD and Blu-ray works. The Act prohibits the exhibition or supply of a film if animals have been cruelly mistreated for the purposes of making the film by:

  • the cruel infliction of pain or terror
  • the cruel goading of any animal to fury

Cuts made under this legislation most commonly include head-over-heels horse falls, which may break the horse’s neck, and cock-fights orchestrated by the film makers. The Act does not, however, prohibit documentary footage of cruelty, or scenes, even if set up for the film, depicting swift humane killings. The test is one of cruelty rather than killing. For the purposes of this legislation and The Animal Welfare Act 2006, only vertebrates which are domesticated or otherwise under the control of man are defined as ‘animals.

The Animal Welfare Act 2006

It is illegal to supply, publish, show or possess with intent to supply a video recording of an ‘animal fight’ that has taken place within Great Britain since 6 April 2007.

The Protection of Children Act 1978

The Protection of Children Act 1978 was passed to prohibit the manufacture, distribution, showing and advertisement of indecent images of children under 16 years of age. Existing legislation (such as the Obscene Publications Act) already prohibited the distribution of images of under 16s engaged in sexual acts. However, the OPA was felt to be insufficient to deal with milder but still exploitative ‘erotic’ images of children that were entering the UK from the Continent. Additionally, the OPA concerned itself only with the effect that images might have upon the viewer, rather than the effect that the creation of such images might have on young participants. The intention of the new Act was to prevent the exploitation of children for indecent purposes altogether. Unlike the OPA, it did not allow context or other justifications to be taken into account.

Indecency is not defined by the legislation, but case law suggests that it should be taken as something that ‘offends the ordinary modesty of the average man’. Mere nudity is not of itself considered indecent unless there is some lewdness involved. A shot of a child in the same frame as adults engaged in sexual activity may also be considered to be indecent. Where the BBFC considers an image may constitute an ‘indecent photograph’, it will usually seek to establish the age of the person involved, if there is any doubt, and may also seek expert legal opinion.

In 1988 the law was strengthened further by the Criminal Justice Act, which made the possession of indecent images of children illegal. In 1994, in response to advances in computer technology, the law was further strengthened by the Criminal Justice and Public Order Act, which made illegal the creation, distribution and possession of ‘pseudo-photographs’ of children. A ‘pseudo-photograph’ must involve an image of an actual child that has been doctored, such as a photograph depicting a child’s head on an adult’s body. Animated images are not covered by the Act as they did not involve the exploitation of an actual child in their creation. However, the BBFC may still take issue with such images under the terms of the Video Recordings Act if it is felt that harm might arise from their distribution (eg by assisting paedophiles in ‘grooming’ children or by stimulating a sexual interest in children).

More recently, The Sexual Offences Act 2003 raised the original definition of a child, which was previously a person under 16 years of age, to include persons under 18 years of age. This change might affect new classifications of works featuring images of persons aged 16 or 17 which were passed before the Sexual Offences Act came into force.

Share this!

Classification RSS:

Our newsletter

If you would like to receive regular mailings about BBFC resources, workshops, advance information about events and recent classifications or decisions which we think you may be interested in please complete the form below.


Sister Act 1 & 2 almost all songs ( Zakonnica w przebraniu 1 i 2 wszystkie piosenki)


Leave a Reply