Media Release

Screen Australia has today released the Private Investment Toolkit, a free interactive digital platform, built by and for the sector, designed to help producers to unlock private investment opportunities for screen projects and support a deeper shift towards a more sustainable, market-led sector.

Commissioned by Screen Australia and developed in consultation with a taskforce of experts across finance, tax, investment, philanthropy, legal, education and production, the Private Investment Toolkit delivers a set of practical, adaptable resources. These resources empower both producers and potential investors to work together with confidence, transparency, standardisation and deal readiness.

Recognising that investors come with varying motivations, including commercial return, social and cultural impact and philanthropic outcomes, the Toolkit provides tailored approaches and investment structures to align with investment intent.

Screen Australia Chief Operating Officer Grainne Brunsdon said, “The Private Investment Toolkit unlocks the true investment potential of our screen industry. By helping investors understand the opportunities and giving producers the tools to present projects and manage relationships with clarity, confidence and commercial rigour, it opens the door to more constructive dialogue around screen projects, setting the stage for more confident and successful partnerships.”

“Importantly, it also shows investors exactly where, how and why they should engage, highlighting that the screen sector can deliver influence, ownership and cultural impact as well as returns — a combination that many traditional investments simply can’t deliver.”

Producer, investor and taskforce member Deanne Weir said, “Screen Australia’s Private Investment Toolkit is an absolute gift to both producers and investors, it will help bridge the significant knowledge gaps that currently exist between those with capital and those who need it. Screen stories have fallen off the radar as an investment opportunity, but we can offer a fun and fulfilling experience to funders who believe that storytelling can both entertain and also help all of us better understand the world we live in. I hope the Toolkit will make it easier to attract and retain the new funding partners critical to the future of the Australian screen industry.”

For screen practitioners, the Toolkit creates clear pathways to private investment by providing resources and tools that:

• Support the preparation of projects with a market-informed mindset that complements public funding with private capital.
• Strengthen the attractiveness of screen investment through transparent, consistent and market-ready approaches to finance partnerships.
• Guide how projects are pitched and communicated to private investors, using clear language to set value, risk, timelines and expectations.

For potential investors, the Toolkit creates clear pathways for investment by providing resources and tools that:

• Help to understand the sector, navigate the investment process and make informed, goal-aligned decisions.
• Support investment approaches tailored to commercial return, social and cultural impact, and philanthropic motivations.
• Identify different ways to invest in screen projects with varying risk and return profiles.

The Private Investment Toolkit was launched under the Enrich Pillar of Screen Australia’s Corporate Plan (PDF). The pillar delivers projects that build a strong, inclusive industry by fostering screen businesses and developing talent. The Toolkit is free to use, requires no registration and is available via the Screen Australia website.

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Kellie Adcock | Senior Publicist

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Screen Australia’s First Nations Department, in partnership with Screen Canberra, Screen NSW, Screen Queensland, Screen Tasmania, Screen Territory, Screenwest, South Australian Film Corporation and VicScreen, has today opened applications for the First Nations Factual Co-production Development Fund, a new national program designed to strengthen and elevate First Nations screen businesses in international markets.

The program will support up to five First Nations businesses to expand their global experience by fostering creative exchange between countries based on the development of factual projects that explore Indigenous perspectives of cultural significance.

Successful applicants will receive a grant of $30,000 each for both the development of two factual projects with potential for international co-production or Official Co-production (created under treaty frameworks) and attendance at Canada’s TIFF: The Market.

Screen Australia Director of First Nations Strategy Rachel Perkins said, “First Nations storytellers around the world share deep cultural connections that transcend time and place, offering powerful, diverse perspectives. This program enables those perspectives to be realised on screen, creating distinctive, high-quality factual storytelling that resonates worldwide. By developing projects for the TIFF 2026 market, we’re creating a vital pathway for First Nations stories to reach global audiences.”

First Nations-owned and operated production companies led by Indigenous practitioners are encouraged to apply. Applicants must be mid-to-established career practitioners with at least two documentary screen credits or have created 60 minutes of factual content broadcast, and be available to attend TIFF: The Market (10-16 September 2026).

Applications close 5pm AEST Thursday 4 June 2026. More information regarding eligibility criteria and how to apply can be found here.

Potential applicants are also encouraged to watch the recent Official Co-production Ask Me Anything session which features information on First Nations co-productions available here. 

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Olsberg SPI’s Production Infrastructure and Capacity Analysis (PICA) 2026 study has recognised Australia as a world-class, globally trusted hub for high production value content, while also identifying challenges that could inhibit long-term workforce capacity across screen production, PDV and animation, and digital games.

The study, commissioned by Screen Australia and released today, highlights four clear pressure points that could constrain the local sector’s future growth and impact competitiveness in the global market – lack of business scalability, skills gaps, limited career progression and infrastructure constraints.

Screen Australia Chief Operating Officer Grainne Brunsdon said, “This study not only reaffirms Australia as a world leader in high value production, it also provides specific guidance on how the sector can navigate a dynamic, ever-changing landscape. I’d encourage screen and games leaders to view these findings as a springboard to tackle the challenges of today and seize the opportunities of tomorrow.”

“For those working in production, PDV, animation and digital games, there is strong potential here to recalibrate capacity readiness and sharpen your competitive edge in a fierce global market. The PICA study equips you with the necessary insights to collaborate, act and build a more flourishing economically sustainable industry.”

To ensure economically sustainable business growth for local companies that are often small and project based, the findings suggest the development of key capabilities that improve scalability and support. Introducing targeted training programs for business development, strengthening the links between academia and industry, forging stronger international partnerships (particularly in the Asia-Pacific region) and stimulating private investment in locally owned content were identified as key improvements to be made.

The study emphasises training optimisation to address critical skills shortages and align programs with current industry needs. Increasing interstate initiatives, bridging the gap between industry and education programs, micro-credentials, continuous upskilling and innovative approaches to training programs were recommended to strengthen Australia’s competitiveness in the area.

When it came to workforce weaknesses, the study found unclear career progression and seniority gaps arose from high rates of attrition and key cohorts aging out of the workforce. To create clearer progression structures and improve work conditions, emphasis was placed on enabling Australian talent to embed in companies internationally, introducing a national grading system for physical production and PDV/animation, improving data collection and analysis, improving job-matching infrastructure and increasing structured mentoring. 

Finally, to address infrastructure challenges, strengthening inter-organisational coordination, preserving essential industrial areas and supporting new shared workspaces would address limitations in physical facilities. Coordinating sound stage development and capacity planning, preserving access to industrial land for screen-related storage and re-establishing dedicated collaborative workspace for digital games were identified as the key opportunities to address this.

Australian Film Television and Radio School (AFTRS) Chief Executive Officer Nell Greenwood advised on the development of the PICA study and said, “This audit delivers essential, evidence-based insight into our screen industry’s capacity and the kind of comprehensive data critical for the industry and training providers to understand and address emerging skills needs and workforce development. As Australia’s national screen school, we look forward to working with partners across the sector to implement the recommendations and advance a coordinated national approach to industry training.”

Screen Australia commissioned the PICA study in alignment with the Empower pillar of the agency’s new Corporate Plan, which focuses on equipping industry with valuable insights and research. Later this year, the agency will also release the landmark Screen Currency report measuring the economic, social and cultural value of Australian screen and games production.

Key study findings for physical screen production:

• For below-the-line (BTL) crew, the top five roles identified by hirers as having the greatest capacity concern were Line Producer, Location Manager, Production Accountant, Production Coordinator and Production Manager.
• Half of the physical production respondents reported a tenure of over 20 years (47%), speaking to the longevity of the industry.
• 77% of surveyed practitioners worked in film, with 59% working in broadcast and 59% in streaming/VOD.
• Nearly two thirds (65%) of professionals work on narrative feature films.
• Most physical production professionals (59%) work primarily in capital cities.

Key study findings for PDV and animation:

• The top five roles identified by hirers as having the greatest capacity concern were VFX Supervisor, Technical Director, Editor, Art Director and VFX Editor.
• Over a quarter (27%) of PDV and animation professionals surveyed had an Australian industry tenure of more than 20 years, with more than half (52%) having worked in the industry between six and 20 years.
• Respondents worked on an average of six international productions in the last three years, twice the average of physical production professionals.
• Almost two thirds (65%) of surveyed practitioners are employed in post-production. A similar proportion of practitioners worked across digital/animation (44%) and VFX (43%). 

Key study findings for digital games:

• The top five roles identified by hirers as having the greatest capacity concern were Artist, Programmer, Designer, Producer and Engineer. 
• 90% of gamemakers surveyed created PC games, ahead of consoles (68%) and mobile (46%).
• The vast majority of respondents work within indie studios (82%), with only 16% working in AAA studios.
• The largest proportion of digital games makers live in Melbourne, however, 6% less people live in the capital than work there, suggesting that gamemakers travel in from regional Victoria for work, or work remotely for Victoria-based companies.

Read the full PICA study here.

Media Enquiries

Kellie Adcock | Senior Publicist

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Screen Australia has today announced $20.4 million of production and development funding across 91 narrative projects, including the first projects through its new Short Film Production Funding Program.

Among the titles is a new season of the award-winning children’s series Little J & Big Cuz, an untitled Official Australian/Canadian Co-production feature film marking Cody Fern’s directorial debut, animated mystery musical direct-to-audience series The Art of Murder for YouTube, and family film Silver Beach (working title).

Sundowner, The Novelty, Inferno and Lazy Love (Lasagne 365) are the first short films to receive production funding through the new program, marking the agency’s return to direct investment in the format and reaffirming its vital role in the careers of future feature filmmakers. Alongside this support, participating teams will receive professional mentorship from an exceptional cohort of industry directors whose insight will help strengthen skills, elevate projects and support pathways to extended narrative production. Mentors include Beck Cole (High Country, Deadloch), Isobel Knowles and Van Sowerwine (The World Came Flooding In, Passenger), Noora Niasari (Shayda) and Goran Stolevski (Of An Age). 

Screen Australia Director of Narrative Content Louise Gough said, “The range of these 91 projects showcases the depth, diversity and bold creativity of local storytellers, shaped with Australia’s unique blend of humour, style and perspective. We’re particularly lucky to have industry figures of such calibre to mentor the four directors of our Short Film Program, guiding them to hone their unique, imaginative shorts for cinema and festival audiences. No doubt this experience will help the short film teams to grow their craft, build recognition and eventually move toward long‑form storytelling.”

Some of the supported projects include:  

• The Laugh of Lakshmi: A debut feature film about a mother and a son separated by a civil war from acclaimed theatre writer/director S. Shakthidharan (Counting and Cracking, The Jungle and The Sea). Written and directed by Shakthi and produced by award-winning producers John Maynard (Balibo), Vivek Rangachari (The Lunchbox) and executive producer Bridget Ikin (Sherpa, Look Both Ways). The Laugh of Lakshmi is filmed in Northern Sri Lanka and Western Sydney in Tamil and English. Major production investment from Screen Australia, in association with the Felix Foundation and Palmera. Financed with support from Screen NSW. Local distribution by Footprint Films and international sales by Maze Film Sales.
• Untitled Feature Film: An Official Australian/Canadian Co-production and the feature directorial debut from actor Cody Fern starring Naomi Watts, Sarah Paulson, Odessa A’zion, Dianne Wiest and Toby Wallace. The film centres on a celebrated actress whose life begins to unravel on the eve of her greatest performance. Produced by Matilda Comers and Will Howarth for Fictious, alongside Nancy Grant (Mommy, Sentimental Value) and Rosalie Chicoine Perreault (Geographies of Solitude), the film has received major production investment from Telefilm Canada and Screen Australia. Distributed by Icon in Australia and Elevation Pictures in Canada. International sales by mk2.
• Fortitude Valley: Written, created and executive produced by Moving Floor Entertainment co-founders Stephen M Irwin and Leigh McGrath (Harrow), with Hunter Page-Lochard (Reckless, Beep and Mort), this gripping six-part crime thriller stars Page-Lochard and acclaimed actress Kat Stewart. Filmed and set in Queensland’s capital city, the series explores family secrets, the corrupting force of power and the complicated truths behind lies. Fortitude Valley is directed by Sian Davies (Black Snow), produced by Andrew Walker (Deadloch) and co-produced by Ross Allsop (The Artful Dodger), with executive producer Greg Sitch (Fisk). Major production investment from Screen Australia, the ABC and Screen Queensland. International sales by DCD Rights.
• Little J & Big Cuz Series 5: The award-winning animated children’s series for NITV and the ABC returns for a fifth season. From director and Trawlwoolway man Tony Thorne, the series follows five-year-old Little J and nine-year-old Big Cuz, two First Nations Australian kids who, with the help of Nanna and their teacher Ms Chen, find out all about culture, community and Country. Co-produced by Ned Lander Media and First Nations company Ramu Productions, the series has received major production investment from Screen Australia and the ABC, in association with NITV. Financed with support from the Australian Children’s Television Foundation with Vicscreen, Screen Tasmania and the Australian Council for Educational Research. International sales by the Australian Children’s Television Foundation.
• Agata the Writer: A debut feature from Polish-born Australian writer/director/video artist Kuba Dorabialski and produced by Alex White (Babyteeth). Mia Wasikowska stars as a Polish-Australian satirical novelist who travels from Sydney to Sarajevo to write a war novel. Challenged by locals who question her motives, her creative uncertainty grows while a startling mystery unfolds. Executive produced by Erik Black, Mia Wasikowski and Alémais, Agata the Writer has received principal production funding from Screen Australia. Financed with support from Creative Australia and the Adelaide Film Festival Investment Fund. Local distribution by Bonsai Films.
• The Art of Murder: An animated series to be released on YouTube from Choc Chip Animation Studios. Spearheaded by sisters Nirali Somaia (writer/director) and Anokhi Somaia (writer/producer), this murder mystery musical is a love letter to pop culture and the artist’s journey, set in a world where sketchbook drawings come to life. Featuring voice actors Joey Bizinger (The Anime Man), Joey Richter and Lauren Lopez (Team Starkid), Megan Lee (KPop Demon Hunters) and Lizzie Freeman (The Amazing Digital Circus), with composers Sonya Belousova and Giona Ostinelli (One Piece, The Witcher). Principal production funding from Screen Australia, in association with Choc Chip Animation Studios and VicScreen.
• Silver Beach (working title): From multi-award-winning producer and executive producer Joanna Werner (Goolagong, Knee High Spies) and executive producer and creator Rachel Davis (Mustangs FC, Turn Up The Volume), with AWGIE award-winning screenwriter Alix Beane (The Strange Chores, Rock Island Mysteries), Silver Beach is a family film about friendship, self-acceptance and the courage to pursue your dreams. Major production investment from Screen Australia, in association with the Australian Children’s Television Foundation and Stan. Financed with support from Screen Queensland with VicScreen. International sales by the Australian Children’s Television Foundation.
• The Funeral Singer: A six‑part romantic comedy series from Jungle Entertainment that navigates grief, fear and falling in love in the most unlikely of places. Created by Lucy Durack (Love in Lockdown) and written by Leon Ford (Upright, Dog Park), with executive producers Jason Burrows and Chloe Rickard for Jungle Entertainment. The Funeral Singer received development funding.
• Asian Girls: A horror film which expands on the successful short of the same name, this feature is from writer/director Hyun Lee (Fake), with producers Georgia Noe and Matt Noonan (Hunt for the Wilderpeople). A driven Korean‑Australian woman plagued by relentless visions of ghosts, Kim receives a stark warning from a Korean shaman that she must give up her career aspirations to become a shaman herself. Asian Girls received development funding.

The Narrative Content Short Film supported projects are:

• Sundowner: From Western Australian First Nations filmmakers, this romantic comedy is produced by Shakara Walley (Aussie Rangers), directed by Gary Hamaguchi (Doug the Human, The Lost Crystals of Jessica’s Room) and co-written by Calen Tassone (The Heights, Irreverent) and Jamahl Ryder. The film is based in a First Nations cultural awareness training organisation where office worker Stephen must decide to follow either his head or his heart. The Sundowner team will be mentored by director Beck Cole (High Country, Deadloch). Principal production funding from Screen Australia.
• The Novelty: Driven by a female‑led creative team including writer, director and producer Charlotte Mungomery (This is Not Here), with producers Rebecca Lamond (The Golden Spurtle) and Clementine Anderson (Mary), the short film is set in the rural town of Dalby, Queensland. In the heat of a summer’s eve outside a hairdressing salon, innocence curdles with cruelty as a young girl’s silence breaks with an irreversible act. The creative team for The Novelty will be mentored by director Noora Niasari. Principal production funding from Screen Australia in association with Screen Queensland.
• Inferno: A haunting coming-of-age story directed and written by Mark Wills (The Horn, Blood Orange), produced and written by Rahel Romahn (The Horn, Blood Orange), with producer Yolandi Franken (Streets of Colour, The Horn, Carmen & Bolude). When a group of teenagers plot a cruel prank on an alienated boy, they unwittingly awaken a quiet force within him. The Inferno team will be mentored by director and screenwriter Goran Stolevski. Principal production funding from Screen Australia.
• Lazy Love (Lasagne 365): An adult animation from animation duo Haein Kim (director) and Paul Rhodes (writer, director), and produced by writer, director and producer Robertino Zambrano (Love in the Time of March Madness) who is executive producing with Dulce Aguilar. The short film follows Apple, out to avenge an insult against so‑called ‘stinky Asian food,’ and Toby, whose mission is to track down the best lasagne in Western Sydney. The Lazy Love team will be mentored by directors, screenwriters and animators Isobel Knowles and Van Sowerwine. Principal production funding from Screen Australia.

Screen Australia also funded recently announced series The Airport Chaplain and Separated at Birth, with support for further major Narrative Content projects to be announced in coming months. 

Both Narrative Content Production and Development blocklines are available here.

For accompanying image assets, click here.

Media Enquiries

Kellie Adcock | Senior Publicist

+ 61 2 8113 5800 | kellie.adcock@screenaustralia.gov.au

All other general/non-media enquiries

Sydney + 61 2 8113 5800 | Melbourne + 61 3 8682 1900 | info@screenaustralia.gov.au

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Screen Australia has today announced the latest funding to help level-up Australian gamemakers, including a cohort of newcomers from non-games fields.

The announcement includes $1.4 million across 26 projects from the Games Production and Emerging Gamemakers funds, supporting the creation of original games centred on Australian stories and ideas. In addition, eight creators will be supported to visit Kyoto’s BitSummit 2026 as part of the Future Leaders Delegation.

Screen Australia Head of Games Joey Egger said, “Supporting emerging gamemakers invests in the future of our talented industry. Having Australian funding support for games is essential for building a resilient and innovative games sector for the next five, ten, twenty years. It’s also inspiring to see creators from diverse backgrounds like architecture, animation and the performing arts working hand-in-hand with some of our more experienced gamemakers. This kind of innovative dynamism, coupled with our unique sense of storytelling, is what makes Australia such an indie powerhouse on the world stage.”

Some of the supported projects include:  

• Little Ruin (Vic): An atmospheric, adventure-driven game from architects and first-time gamemakers Mark Fenollar and Fiona Jonson (creative directors), games lecturer Ben Rolfe (lead programmer), graphic designer Maria Montes, character artist Anna Tutova, programmer Max Cahill, multi-award-winning sound designer John Kassab and concept artist Pavel Elagin. Play as a teenage girl navigating the challenges of growing up and finding a sense of belonging through mysteries, in-world exploration and ethical conundrums that radically change the course of the narrative. The score for Little Ruin is composed by AFI/AACTA award nominated sound designer and ARIA-nominated musician Nick Batterham and Melbourne Conservatorium Head of Guitar Ken Murray.   
• Foe (NSW): A hand-drawn, 2D animated, action-adventure side scroller with creative direction from filmmakers-turned-gamemakers Sarah Harper and Debbie Steer, and animation direction by Tom Barkel (Rise of the Teenage Mutant Ninja Turtles: The Movie), Christian Barkel and Richard Chhoa (upcoming animation The Legend of Aang: The Last Airbender), with lead programmer and composer Andrew Quizon.
• Frostliner (WA): The debut title from Ganedev Studio created by programmer Elizabeth Haynes, developer Nathan Gane and artist Josiah Ward. Journey across a barren landscape in a nomadic train city, building new carriages, adding vital facilities for passengers, unlocking advanced technologies and fighting off or outrunning threats.
• Grove Keeper (NSW): This dark-fantasy, real-time strategy game is from creative director Billy Green and lead programmer Brendan Votano, with 3D art from Skylar Judd and animation from Willow Kable. In a medieval world, become an ancient forest deity, wielding nature’s magic to grow forests, restore wildlife and command powerful guardians to defend the last wild lands.
• Delverium (Qld): From Sagestone Games, this survival sandbox, fantasy-adventure for up to eight players has been developed by Scott Lowther and produced by Charlotte Lowther, with audio direction by Jeff van Dyck, programming by Mark Taylor, 2D artistry by Angus Coolan and community management by Zanthia Lowther. Delverium blends exploration, farming, crafting, settlement building and dungeon crawling in a vast, procedurally-generated world.
• TOYA (SA): Created by technical director Rupert McPharlin and creative director Daniel D’Cruz, with music by former Cirque du Soleil musician Chris Norton, TOYA is a relaxing, tactile and satisfying minimalist puzzle game. In it, help a little squishy cube on a journey through a big world full of surprises and delight.
• Club Rat (Vic): A 2.5D soulslike game produced by The Sequence Group from indie filmmaker Ptolemy Culvenor (creative director), multidisciplinary animator Luke Bicevskis (art director), RMIT games associate lecturer Charlotte Galvin (producer) and industry veteran Cherie Davidson (production consultant). Play as a graffiti-drawn rat thrown into an eccentric community of art come-to-life in a multi-floor night club. Each area showcases a unique art style and the strange and interesting characters who populate this world.
• Tracking Numbers (Working Title) (SA): A debut from multi-disciplinary performing artist Wan Vincy Chan as creative director, with technical assistance by software developer Jackson Michael. In this explorative role-playing story, dive into a retro-futurist city landscape as the new courier recruit serving a vibrant neighbourhood threatened by redevelopment.
• Dungeon Pizza (Qld): A fantasy‑themed cooking game from producer and programmer Louis Van Dyke, game designer, composer and sound designer Oscar Jemmott, co-illustrator and concept artist Elly-Rose Burrowes, co-illustrator and animator Maggie Buckley and concept artist Sam Davis. In Dungeon Pizza, run a pizzeria, unlock new recipes and get to know the weary adventurers who stop by. This world is full of people who help each other – you won’t be slaying dragons; you’ll be serving them a world-class slice.
• Foodomina (Vic): From creative director Irini Melas, lead programmer John Engstrom, award-winning writer William Hinz as narrative designer, multi-genre composer Callum Lee Gow and flautist Isabella Verduci as sound designer, Foodomina is a story-rich RPG, playing as two personified food girls, Takoyaki and Tempura, traversing a galaxy of food-themed planets in a cosmic battle against Mould People.
• Syzygy (Working Title) (Vic): From design researcher Dr Laura Szyman, PhD (RMIT) (artist, designer), architect Bryn Murrell (programmer) and architect Jack Murray (producer, writer, sound designer), this rhythmic narrative game takes place in a world where magic is a vibrating and indescribable force. As the first wizard arriving at a strange village, uncover powers through communion with a strange entity and building spells through “chords” – pressing a set of keys with precise timing.

The Future Leaders Delegation is an initiative designed to support early-to-mid career gamemakers to develop their networks in a strategically relevant region and seek out partnerships, funding and marketplace opportunities. This year, Screen Australia has supported eight individuals to attend Japan’s largest independent games festival BitSummit in Kyoto (22-24 May 2026) and present their games as part of the Australia stand.

The 2026 Future Leaders Delegation recipients are:

• Svitlana Amelina (QLD)
• Chris Baron (TAS)
• Inge Berman (VIC)
• Will Deragon (VIC)
• Daniel Ferguson (NT)
• Aiden Gyory (SA)
• Caitlin Lomax (WA)
• Matthew Lucis (NSW)

The full list of blocklines for Games Production and Emerging Gamemakers is here.

For accompanying image assets, click here.

Media Enquiries

Kellie Adcock | Senior Publicist

+ 61 2 8113 5800 | kellie.adcock@screenaustralia.gov.au

All other general/non-media enquiries

Sydney + 61 2 8113 5800 | Melbourne + 61 3 8682 1900 | info@screenaustralia.gov.au

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Ausfilm and Screen Australia have announced Partner with Australia (UK), a new initiative designed to deepen creative and commercial partnerships between the Australian and UK screen industries.

Taking place in London from 16–18 June 2026, the program will bring a curated delegation of Australian creatives and Ausfilm member businesses to the UK for three days of targeted industry engagement. Through roundtables, keynote and panel discussions, and structured networking sessions delivered in partnership with key UK industry bodies including the British Film Institute (BFI), Film London and Pact, the initiative will create direct pathways for co-development, production and broader collaboration under the Australia–UK Co-production treaty.

Partner with Australia positions Australian creatives and businesses as collaborative partners of choice on world-class productions. The initiative aims to capitalise on the strong cultural and economic alignment between Australia and the UK, supporting official and unofficial co-productions, location shooting, post-production partnerships and broader cultural export.

Ausfilm CEO Kate Marks said the initiative would present a clear and confident message to the UK market.

“We’re proud to be leading Partner with Australia alongside Screen Australia and working closely with the BFI, Film London and Pact to create meaningful opportunities for our industry. The UK is a natural partner for Australia, and this initiative ensures we are engaging in a focused and strategic way.

“It’s also an opportunity to highlight Australia’s exceptional creative talent, production and post-production expertise and globally competitive screen incentives, which together offer significant value for international collaborators.”

The announcement builds on the strong and enduring history of collaboration between the two countries. Australia–UK Official Co-productions – including the upcoming series Careless, the feature films Prima Facie and FING!, and previous documentaries Shane, The Australian Dream and David Attenborough’s Life in Colour – highlight the depth of cross border creative partnerships. In addition, titles such as The Dispatcher and Breakers, currently being produced in Australia, further demonstrate the growing momentum of shared storytelling.

Screen Australia CEO Deirdre Brennan said the program is designed to deliver practical, concrete outcomes for experienced Australian creatives building on the international momentum around our talent and IP.

“The UK is one of Australia’s most important creative partners and this initiative will only strengthen the ties of our screen sectors. Partner with Australia is a focused platform to develop new relationships and advance projects that provide exciting avenues for genuine co-production and co-development.

“By supporting Australian companies and proven creatives with UK traction, we are strengthening the pipeline of projects that can be realised under the Australia–UK treaty, ensuring unique Australian stories and values continue to resonate with global audiences.”

Applications are now open on the Screen Australia website, with up to 20 production companies and up to 10 writer/creators eligible for funding of up to $10,000 each to support travel and accommodation in the UK, as well as related market opportunities in the region. Applications close 5pm AEDT Thursday 26 March 2026.

The funding is targeted at experienced producers and creatives with a proven ability to deliver projects of scale and a demonstrated connection to the UK market, ensuring the delegation is well-positioned to secure new partnerships and advance projects into development and production.

Media Enquiries

Kellie Adcock | Senior Publicist

+ 61 2 8113 5800 | kellie.adcock@screenaustralia.gov.au

All other general/non-media enquiries

Sydney + 61 2 8113 5800 | Melbourne + 61 3 8682 1900 | info@screenaustralia.gov.au

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Ausfilm

Tom Roache, Director of Marketing, Communications & Industry Partnerships
tom.roache@ausfilm.com.au

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Screen Australia has today announced 44 documentaries that will share in $5.6 million across production and development funding – projects that reflect the depth and diversity of Australian stories.

Projects include Australian and New Zealand co-production Atomic Paradise, major series TAMPA: The Ship That Turned the Tide from award-winning producers at Mint Pictures, The Man Who Ate a Succulent Chinese Meal exploring the figure behind the internet meme sensation, and YouTube series Tastes of Africa and The Wombat Guy.

Screen Australia Head of Documentary Richard Huddleston said, “From brave historical interrogations and intimate character studies to timely geopolitical examinations, natural history epics and fresh digital‑first storytelling, these stories reflect a sector unafraid to innovate and to speak with authentic and diverse voices.

“The projects also speak to the curiosity, craft and ambition of Australian documentarians – it’s a privilege to support these teams as they bring unique perspectives to local and global audiences.”

Some of the supported projects include:  

• TAMPA: The Ship That Turned the Tide: From the multi-award-winning producers at Mint Pictures (When The War is Over, The Hunt for the Last Nazis), this series is an in-depth look at ‘the Tampa crisis’ – the dramatic eight-day showdown at sea that triggered a diplomatic standoff between Canberra, Jakarta and Oslo. Major production investment from the ABC and Screen Australia, financed with support from Screen NSW. International distribution by ABC Commercial.
• Atomic Paradise: From award-winning First Nations director John Harvey (Still We Rise, Off Country), Emmy Award-nominated producer Sally Aitken (Every Little Thing, Hot Potato: The Story of the Wiggles) and executive producer Aline Jacques (Hot Potato: The Story of the Wiggles), Atomic Paradise is a cinematic experience that reclaims the Pacific’s nuclear testing history through a First Nations lens. A co-production with New Zealand, this bold and unflinching feature is financed with principal production funding from Screen Australia with production support from the Shark Island Foundation and Screen NSW. Local distribution by Umbrella ANZ.
• Empire In Colour: An Australian/Canadian Official Co-production, Empire In Colour is led by Emmy Award-winning producer Jo-anne McGowan (Edge of Life, River) and directed by John Harvey (Still We Rise) in Australia and by Sundance and Peabody Award-winning, Emmy-nominated Canadian filmmakers Catherine Bainbridge and Ernest Webb from Rezolution Pictures. Developed in conjunction with SBS and Canadian public education broadcaster TVO, the four-part series uses newly colourised archival footage to explore the lasting impact of the British Empire, prompting an honest exploration with its legacy. Empire In Colour received major production investment from Screen Australia and SBS and was financed with support from Screen NSW, TVO and TFO with support from the Canadian Media Fund. It will be distributed locally by SBS, with international sales by Fremantle.
• Tina Arena: Unravel Me: Acclaimed director and Wonnarua man Adrian Russell Wills (Black Divaz), executive producer Mark Fennessey (Mystify: Michael Hutchence) and producer Jessica Carrera (Paper Dolls) unravel five extraordinary decades of pop icon Tina Arena’s career, revealing a life devoted to music. Principal production funding from Screen Australia, in association with Screen NSW and the Seven Network.
• The Man Who Ate a Succulent Chinese Meal: Multi-award winning director/producer Heath Davis (Book Week) and producer Jonathan Page (Knowing the Score), together with Ruth Harrison and Tim Randall in their filmmaking debut, tell the shocking life story of an internet icon propelled to global fame after his theatrical arrest eating a “succulent Chinese meal”. Principal production funding from Screen Australia, in association with Screen NSW. Local distribution by Bonsai Films.
• Tastes of Africa: From producer and 2025 Digital Originals recipient Kauthar Abdulalim (Salma’s Season) and emerging writer/director Rendah Haj (Hayat) comes Tastes of Africa. Hosted by Santilla Chingaipe, this online/direct-to-audience series for YouTube takes viewers across Melbourne’s kitchens, community cook-ups and hidden eateries, guided by the traditional wisdom of aunties and younger African-Australians boldly reinterpreting recipes. Principal production funding from Screen Australia, in association with VicScreen.
• The Wombat Guy: Directed by Tahnee McGuire (Strong Women) and produced by the all-female Queensland collective Five Storey Films (Rebecca McElroy, Emma Sargent, Jenine Olliver and Anna Jeffries), The Wombat Guy tells the story of shiftworking “sparky” and passionate wildlife rescuer Josh Neille. With his boundless energy and humour, Josh, his wife Amber and their spirited daughter Ashlee rehabilitate a menagerie of wildlife on their rural hobby farm. Created for social media, this ambitious 24-part series received principal production funding from Screen Australia, with support from Canadian production company Open Door. Developed with the assistance of Screen Queensland.
• This is Amy Taylor: Writer/director Eddie Martin (All This Mayhem) follows the frontwoman of punk band Amyl and the Sniffers in This is Amy Taylor. Produced by Shannon Swan (Gurrumul, Lygon Street: Si Parla Italiano) and executive produced by Cody Greenwood (Under the Volcano), the feature received development funding.
• MOONSHOT: From award-winning writer/director/producer Anna Broinowski (Aim High in Creation!), executive producer Tim White (Beast), story consultant Alex Proyas (The Crow) and producers Media Stockade (Mozart’s Sister, Back To Nature), this innovative cli-fi, hybrid documentary feature uses expert interviews, eye-witness testimonies and hard scientific evidence to investigate the possibility the super-rich are building a luxury colony on the dark side of the Moon. Set in 2033, this dark satire received development funding.

The full list of documentary blocklines is available here. The latest projects funded for documentary development are available here.  

For accompanying image assets, click here.

Media Enquiries

Kellie Adcock | Senior Publicist

+ 61 2 8113 5800 | kellie.adcock@screenaustralia.gov.au

All other general/non-media enquiries

Sydney + 61 2 8113 5800 | Melbourne + 61 3 8682 1900 | info@screenaustralia.gov.au

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Screen Australia has today expanded on the agency’s Market & Audience plans, strengthening support for the sector to reach audiences and creating new opportunities for project discoverability and engagement. 

Responding to evolving market conditions and audience behaviours, the approach aligns with the Engage pillar of the agency’s new Corporate Plan and includes three new Narrative Content Market & Audience Programs – Assets, Audience Testing and Channel Management – with the appointment of Rakel Tansley as Head of Market & Audience and a newly-created Investment Manager role for this area of focus. 

Narrative Content Market & Audience – Assets: targeted support for the theatrical sector, providing feature film producers and distributors up to $45,000 to create assets for projects during production and/or asset completion pre-release.

Narrative Content Market & Audience – Audience Testing: provides feature films with distributors up to $15,000 for testing Australian projects. The program supports audience testing domestically and/or globally during post-production and before picture-lock, as well as pre-release and after picture lock. This program aims to better inform creative strategies to increase impact and engagement.

Narrative Content Market & Audience – Channel Management: supports online/direct-to-audience producers and creatives with up to $15,000 to drive platform visibility and audience impact.

Created in consultation with industry, all three programs will open 28 January and close 26 March, with recipients announced June 2026. The first application rounds are open to projects that have previously received Screen Australia Narrative Content or First Nations narrative production funding.

To oversee the renewed programs and services, Rakel Tansley has been appointed Head of Market & Audience, ensuring all elements of the value chain effectively position local titles for success. Under the direction of the Director of Narrative Content, her expanded role includes the delivery of the new programs and continued consultation with the sector.

Tansley said, “The sector has told us that connecting Australian stories to audiences locally and globally has never been more complex. These programs have been designed to address some of these challenges and are an important first step in our plans to empower producers and distributors working together.” 

CEO of Madman Entertainment Paul Wiegard consulted on the programs’ design and said, “Screen Australia’s commitment to empowering filmmakers and distributors in connecting Australian content with audiences is critical for our industry. At Madman, we are grateful for the opportunity to contribute to the evolution of this support. We believe that the new market and audience programs will enhance efficiency and focus, ensuring that resources are directed effectively, thereby providing filmmakers with the best possible chance to engage and expand their audiences.”

To manage the rollout of the programs, Michelle Melky has been appointed to the newly created Investment Manager, Market & Audience position. Formerly the Global Creative Director at creator and content agency Amplify, Melky brings critical experience of audiences and community building, with a passion for Australian content and a future-focused understanding of discoverability. 

Read more about the Narrative Content Market & Audience programs, including Guidelines and FAQs here. 

Images for media editorial use available to download here. 

Media Enquiries

Kellie Adcock | Senior Publicist

+ 61 2 8113 5800 | kellie.adcock@screenaustralia.gov.au

All other general/non-media enquiries

Sydney + 61 2 8113 5800 | Melbourne + 61 3 8682 1900 | info@screenaustralia.gov.au

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