Media Release

Screen Australia has announced over $1.6 million in support of 12 games through the Games Production Fund and 15 games through the Emerging Gamemakers Fund. This is in addition to the five recipients selected to travel to San Francisco to attend the Game Developers Conference (GDC) through Screen Australia’s Future Leaders Delegation, which is taking place this week.

Announced in October, the Games Production Fund, Emerging Gamemakers Fund and the Future Leaders Delegation were introduced by Screen Australia to provide Australian independent gamemakers with direct funding for original games with budgets below $500,000, support new projects from emerging gamemakers and offer additional opportunities for professional development. The new programs are supported by the Federal Government’s National Cultural Policy Revive, which includes a commitment of $12 million over 4 years of dedicated games funding through Screen Australia.

Minister for the Arts, Tony Burke said, “Australia has a proud history of game development going right back to The Hobbit. What this does is support the future of Australian game development, making sure we don’t miss out on the next Unpacking or Untitled Goose Game. Many of these games might not be set in Australia – or even on this planet – but they do show the best of Australian creativity and storytelling.”

CEO of Screen Australia, Deirdre Brennan said, “Australia is home to some of the world’s most talented, independent gamemakers and we’re thrilled to support this dynamic community. We’re seeing unprecedented demand for these programs, and as Screen Australia’s focus on games expands, it will allow our domestic industry to demand attention at an international level. This innovative funding support, as part of the National Cultural Policy, enables bold local-storytelling that will engage gamers around the world.”

Since reopening in March 2022, Screen Australia’s games funding has provided over $10 million in support of the local games industry, including Gubbins, Earthlingo and The Master’s Pupil. The agency has supported games across a variety of platforms, such as PC, Mac, Nintendo Switch and iOS/Android, with games aimed at release on App stores, Steam, itch.io, Nintendo eShop and more.

Games Production Fund

The Games Production Fund provides grants of up to $100,000 towards supporting the development of original, Australian independent games, with a budget of up to $500,000 at the time of applying to support the game towards a significant milestone of its development.

The funded projects are:

Ascending Inferno (ACT): A 2.5D precision platformer that blends voxel and pixel art together to reimagine Dante’s Inferno. Players follow the journey of the recently deceased Dani, and her sibling Vincent who is oddly shaped like a soccer ball. Dani must kick, header and juggle Vincent to ascend out of Inferno. The team includes the four co-founders Isaac Iozzi, Rebecca Haller-Trost, Ben Anderson and Bas Anderson, 3D artists Martin Daniel Widdowson, Ricky-Lee Huddson-Stephens and Lachlan Smith, 2D artists Chris Ottey and Fauzi Raisyuli, community manager Div Randev and composer Dan Poole.

Anvilheart (SA): In this story-driven shop management game, a vagrant’s dream of a better life is suddenly realised when they find themselves stumbling into a blacksmithing apprenticeship. As if from nowhere, they suddenly have everything they were missing – a warm home, friends and a mentor. But they soon discover this miracle is founded on a monstrous secret: the house fire which triggered it all was masterminded by a madman, who made this life for the vagrant after peering into their dreams. Anvilheart is from co-founder and creative director Sean Dee, co-founder and programmer Emma Waters, programmer Elle Valentine, character artist James Hobbs, environment artist Harry Mickan and composer John Oestmann.

Finch and Archie (WA): A co-op murder mystery where players become one half of a crime-fighting duo: Jack Finch the detective or Archie the police dog – using skills to find evidence, interrogate suspects, and catch the culprit in a gritty, noir 1930s setting. Attached are producer Dickson Dic Shen Hee, developer Aubrey Vigus, level designer Tom Lorenti, composer Harry May, writer Liz Glass and designer Rhys Veale-Chan. It is financed with support from Screenwest.

Kādomon: Hyper Auto Battlers (SA): In this auto-battle deckbuilder roguelike game, players can collect and battle over 180 unique creatures called Kādomon. They can level-up, evolve and assemble their Kādomon into the ultimate team, creating synergies to beat big bosses and discover secrets. Kādomon: Hyper Auto Battlers is from CEO/MD/founder Patrick Sigley and producer Rhiannon James.

Lighthaze World (TAS): A story-driven puzzle game where players adopt the role of anxious Nym. Nym is on a mission to retrieve food for his pet dog Chewie at their local shopping centre, Lighthaze World. Overwhelmed by the crowd, Nym passes out and, after regaining consciousness, finds himself in a new mental realm crafted by his own mind to cope with the overwhelming reality – requiring players to complete puzzles and navigate this surreal mall to obtain the dog food. Lighthaze World is created by CEO/MD/founder Anthony Hilkmann, composer Lynden Woodiwiss and 3D artist Liam Gibbs.

Momento (QLD): A room decorator game that invites players to decorate their space and choose meaningful objects that influence the life they experience. With branching narratives, Momento will be a warm ode to the challenge of following dreams down the winding road of life. Attached are lead artist Jasmine Phillips, lead narrative Jessica Lyon and lead developer Julian Beiboer. Momento is financed with support from Screen Queensland.

Mystiques Haunted Antiques (NSW): A haunted, exploration game about four horrible women, Gem, Aspen, Winnie and Barb, who save a failing antique store by adopting a new business strategy: developing psychic powers. Financed with support from an Epic MegaGrant, it is being created by game director/writer Ally McLean, technical director Adam Matthews, art director Inge Berman, composer Sarah Wolfe, 3D artists Benjamin Retter and Robbie Archer, designer Shaun Bright and producer Nicole Archer.

My Arms Are Longer Now (VIC): A comedic stealth/narrative game where players play as a long-armed criminal mastermind. They’ll avoid security systems, decipher blueprints and seduce lonely guards — whatever it takes to pull off the perfect heist. This is Toot Games’ debut title, with lead developers Matthew Jackson (design and technical lead) and Millie Holten (art and narrative lead). Developed with the assistance of VicScreen.

Rat Trap (VIC): From lead developer Beau Whitehead, Rat Trap is a 2D hand-drawn Metroidvania adventure platformer where players adopt the character of a lab rat trying to escape captivity. On the route to escape, players fuse together a mobile mech, explore a sprawling map, complete dastardly puzzles and obtain the necessary powerups to take on the captors – in hope to escape the Rat Trap.

Squidge (QLD): A story-driven exploration game following Squidge, a captured alien who crash-landed on earth, and whose ultimate goal is to return home – rescuing his friends, finding the missing pieces of his ship and destroying the secret government laboratory along the way. Squidge is from designers Jeff van Dyck and Shaun Trainer and is financed with support from Screen Queensland.

Which Way Up: Galaxy Games (NSW): The ultimate gravity-defying party game in space – where up to four players compete in unique bite-sized events. Players can eject friends into space as they race across gravity fields, collect comets by guiding and shooting them into their home base, leap across planets to escape a black hole, and capture and hold zodiacal constellations. Which Way Up is from founder, creative director and lead programmer Nicholas Cellini, lead artist Sydney Liao, 3D artist Adam Canto Galiana and composer and sound designer Kobe Anthony (MEMODEMO).

Winnie’s Hole (VIC): In this dark comedy roguelite strategy game, players join Winnie the Pooh on a new adventure, from within – playing as a virus within his body to specialise the host, grow mutations and refine Winnie’s form to adapt for survival. Winnie’s Hole is from creative director Simon Boxer and programmer Mesut Latifoglu.

Emerging Gamemakers Fund

The Emerging Gamemakers Fund provides grants of up to $30,000 to support the development of original, new projects from Australian independent gamemakers. It can fund the creation of a prototype or the completion of a micro-scale game from emerging and/or established creators who are interested in creative and artistic experimentation.

The funded projects are:

Apothecary of City X (QLD): A cosy, strategy, simulation game where players own an apothecary in a dark, dystopian city – adopting the role of a single mother trying to make ends meet. Apothecary of City X is from CEO/MD/founder Anna Zou, composer/sound designer Alex Prenzler and 2D artist Ben Scherhag.

Bones (WA): In this 2.5D adventure puzzle game, players follow the story of Bones, a small skeleton in a big city, who is separated from his coffin by a crane relocating graves to make way for new apartments. Needing to find his home again, players will guide Bones as he overcomes a range of obstacles to discover who he is and where his home has been relocated to. The team includes creative director Amber Stacey, animator Yee Hui Wong and senior rigging technical director Robbie Reid.

Catto’s Post Office (QLD): In a friendly town filled with adorable kitty inhabitants, players take on the role of ‘postcat’, “Catto”, in this casual, story-driven game – navigating around the town to find the correct location to deliver the mail to, before completing a task for a resident. Catto’s Post Office is from creative director Ha Young Lee, environmental artist Jack Dunphy and programmer Sam Vidler.

Clownbaby! (VIC): In this comedic, dating, horror deckbuilder, Clownbaby, is a clown desperate for love. Living in a strange and ethereal world known as Midnight City, players will take on the role of Clownbaby, to date mysterious creatures, win conversations, and most importantly, try not to destroy the world. Clownbaby! is created by solo developer Lauren Temos (T-Dog eXtreme).

Crimson Cutlass (SA): In this two-player rogue-lite co-operative multiplayer game, players roleplay as Priscilla, the fearless warrior who seeks the fun of the fight, along with her lovable gentle giant childhood friend Gym(maine). In Crimson Cutlass, time travel meets post-apocalyptic ocean world, thousands of years in the future. New age cultures are founded upon ancient relics, which each society has independently stumbled upon – where they must either find peace amongst themselves, or resist the peace imposed upon them. The team includes creative director Arthur Ah Chee, animator Evan De wolf and lead programmer Peter Cowen.

Deficit – The ADHD RPG (VIC): An RPG narrative game that explores ADHD. Players experience the life of someone with ADHD and make choices that shape the story as they navigate an ADHD diagnosis and therapy, alongside the stigmas often associated with both. Deficit is from creative director Gabriella Lowgren, lead designer Ceri Hutton, producer Caitlin Lomax, audio designer Amy McNickle, 2D artist Lauren Temos, programmer Jordan Cook-Irwin, narrative designer Jordan Le Quesne, with Bones Hillier handling lead narrative.

Gale from the Mantle (WA): From solo developer Cody Lehman, Gale from the Mantle is an action-adventure story-driven exploration platformer. Stirred by a dream of a mountain emitting red smoke, Gale is pulled into a volcano rescue mission that unveils realms bustling with spirits and vibrant subterranean worlds, where she must prevent an impending spiritual takeover and the destruction of worlds.

Key Fairy (QLD): A stylised 2D action RPG that makes use of mixed mediums and a limited colour palette to create a world filled with ancient forests and hungry monsters – where players take on the role of a character who can slide, dance and grapple around monsters at high speed. Key Fairy’s team consists of lead programmer Tex Barnes and lead artist Mars Bleach.

King Tidal (VIC): In this post-apocalyptic dress-up game, accompany Mount Isa’s last drag queen on her journey across a sunken regional Australia. Sailing towards the big smoke, players can barter, scavenge and borrow their way from op shop to op shop, rebuilding a wardrobe and a community at the intersection of regional and queer Australia. Attached to the project is art director Tyler Hilder, narrative lead William Hinz and lead programmer Jae Stuart.

Planet B (VIC): A dystopian, narrative branching mobile game which explores the inevitable destruction of the Earth, where players are catapulted into 2054 and must take on the responsibility of a space mission to confirm if a planet in a neighbouring solar system could hold hopes of a second chance. The team includes creative director, narrative designer and audio designer Amy McNickle, programmer and game designer James Smith, 2D artist and animator Steffie Yee and quality assurance tester Callum Harrington.

River Scene Zine (VIC): From developers Max Myers and Tim Snowdon, River Scene Zine is an exploration point and click, queer game about co-presence, attention and gayness. The player explores a public space, in which they are invited to observe and participate in experiences of queerness and diverse masculinities – revealing vignettes exploring play, togetherness and physical proximity.

Roots (ACT): In this point and click puzzle game, players step into the shoes of a young adult grappling with the recent loss of their mother, which prompts an investigation into their family history – becoming an exploration of identity and encouraging players to question and redefine the definition of family. The team includes creative director Chloe Brett, art director Alyce Warmington, lead programmer Adam Pattrick and Harry Lynch on lead design.

SPÜTWEISER (VIC): A narrative-focused rogue-lite point and click survival game where the player takes control of a moving settlement while navigating a post-apocalyptic map. Players interact with the world’s story alongside other players – being weary of the consequences down the line. SPÜTWEISER is created by solo developer Dana McKay.

Tea, Please! (NSW): A point and click, story-driven game from solo developer Siobhan Willoughby that explores the contrast between the drudgery and noise of office life and the surprising happiness and peace gained through remote work during lockdown. This is expressed through handcrafted interactive life vignettes punctuated with the simple action of making tea.

Tomorrow’s Pasts (VIC): A narrative, role-playing adventure game where the player experiences and navigates a world in which generations of activism have altered the course of history to create a better, future Australia. By securing a key piece of a fractal puzzle, players will work towards confirming this timeline where characters cross race, gender, culture, age and ability – acknowledging the real world we live in. Tomorrow’s Pasts is from creative directors Tony Briggs and David Pledger.

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

Grainne Brunsdon steps into the Chief Operating Officer (COO) role from her current position within Screen Australia as Director of Content, where she has led production investment and development, distribution support, and business initiatives across Australian screen content over the last two years.

With more than 25 years’ experience, Grainne is a strategic leader in the creative industries who has held senior leadership roles in the screen sector, international arts and culture as well as tertiary education with TAFE and UNSW. Prior to joining Screen Australia in 2022, Grainne was the Head of Screen NSW, where she oversaw the state’s investment in the screen sector including production incentives and industry development, supporting NSW productions through the COVID-19 lockdowns.

Grainne was Director of Arts Investment, Engagement and Development at Create NSW where she was instrumental in the introduction of the 50:50 by 2020 initiative addressing gender parity in the screen industry, and Screenability NSW initiative, which provided opportunities for practitioners with disability.

While at Screen NSW, Grainne also worked as Head of Strategy, Partnerships and Industry Development and Manager of Stakeholder Relations and Industry Development. She has experience managing funding programs and targeted initiatives across arts, screen and culture in addition to overseeing the designation of Sydney as a UNESCO City of Film, and representing the global film cities on the UNESCO Creative Cities Network Steering Group.

Screen Australia’s CEO Deirdre Brennan said, “Grainne brings a depth of experience to the role of Chief Operating Officer. She has proven herself to be an exceptional leader who is passionate about Australian storytelling in all its forms. I believe that her experience will be instrumental in helping deliver Screen Australia’s vision and evolving strategic priorities, working with the team to make a significant and holistic contribution to the screen industry.”

On accepting the Chief Operating Officer position, Grainne Brunsdon said, “I’m thrilled to be stepping into the role of COO as Screen Australia enters an exciting new chapter. My passion for supporting Australian creative talent has played a significant role in my career and I’m looking forward to helping lead the agency in its next phase of growth.”

Grainne succeeds Michael Brealey, who departed the agency in December 2023 after five years in the role and will officially commence as COO on 1 April 2024.

To request an interview with Grainne, media can lodge an expression of interest with Ted Rose.

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

Screen Australia and VicScreen have unveiled a bold new initiative to address skills shortages in the Australian screen industry. Over the next four years, the agencies will provide a combined $1.4 million to support Screen Careers, which will be based out of Melbourne.

Screen Careers will deliver tailored, industry-led training programs and skills development opportunities for below-the-line crew across Australia, leveraging partnerships with ScreenSkills UK, BFI and BAFTA.

For aspiring screen practitioners, including school leavers, TAFE and university students, Screen Careers will serve as a gateway into the screen industry, providing essential foundational training. For established professionals, Screen Careers will offer lifelong career support, enabling individuals to progress and grow their careers within their respective fields through in-person workshops and e-learning programs.

Media Mentors Co-Founders Denise Eriksen and Esther Coleman-Hawkins will lead Screen Careers, alongside the ABC’s Head of Content Chris Oliver Taylor who has been appointed as the inaugural Chair. Joining them are Fiona Gilroy as Head of Business Development and Communications and Megan Mohell as Chief Operating Officer.

Federal Minister for the Arts, Tony Burke said, “We always talk about screen being one of the main ways that our stories are told to each other and to the world. I want one of those stories to be jobs. Not just jobs for the people who are on screen, but all the people around them who make it happen.”

Victorian Minister for Creative Industries Colin Brooks said, “The screen industry is growing and the Victorian Government is proud to back Screen Careers which will expand our highly skilled screen workforce, creating jobs for Victorians for years to come. By being headquartered in Victoria the initiative will create a pipeline of job-ready local screen practitioners, fuel production and confirm Victoria’s status as a global screen powerhouse.”

Screen Australia CEO Deirdre Brennan said, “Screen Careers marks an exciting advancement, as we strive to develop a highly skilled workforce to meet the demands of Australia’s screen sector. This new initiative will address skills shortages by supporting crew at all stages of their careers, driving sustainability for our industry on a national scale.”

VicScreen CEO Caroline Pitcher said, “Industry has told us that more below-the-line skills and training is needed as a matter of urgency and we are proud to be leading the charge in addressing this strategic need through our partnership with Screen Careers and Screen Australia. This multi-faceted initiative will deliver real results for Victoria’s screen industry and kickstart sustainable and successful careers for the next generation of below-the-line practitioners right here in Victoria.”

Screen Careers CEO, Esther Coleman-Hawkins said, “Screen Careers represents a significant investment in nurturing talent and fostering a robust pipeline of skilled professionals to meet the evolving demands of the industry. We’re committed to providing essential training and lifelong support to below-the-line crew, ensuring a steady influx of skilled professionals into the industry.”

For more information and updates on Screen Careers, please visit www.screencareers.com.au.

To find out more about VicScreen’s suite of Industry Development initiatives please visit: vicscreen.vic.gov.au/funding/skills-development/

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

Screen Australia and Australians in Film (AiF) are pleased to announce the recipients for Talent Gateway and the Global Producers Exchange 2024. These joint initiatives aim to support established Australian screen creatives by elevating their skills for an increasingly global market, including providing access to a range of industry roundtables with leading US executives and creatives, as well as individual script and pitch coaching and mentoring with some of the world’s best professionals.

Talent Gateway provides established Australian writer/directors who have demonstrated a high level of recent international success with the knowledge, access, and relationships necessary to succeed in the global market. The program aims to help these creatives to refine and market their slate, and engage international partners for projects.

Global Producers Exchange provides Australia’s leading producers with new skills, knowledge, access, and relationships. The program aims to provide Australian cultural stories with the opportunity to be developed with internationally based collaborators who possess a global outlook and a proven track record of success with international audiences.

Screen Australia CEO Deirdre Brennan said, “Screen Australia congratulates this year’s participants for Talent Gateway and the Global Producers Exchange, supporting them to further develop their craft and foster meaningful business and creative connections internationally. We wish them every success as they embark on this exceptional program, created to assist Australian voices resonate with global audiences.”

Australians in Film Executive Director Peter Ritchie said, “For a variety of reasons, it is always exciting to see the names of the very talented individuals and companies who participate in Talent Gateway and Global Producers Exchange each year. In some cases, it’s just their first toe tip into the LA market, and AiF – with the extraordinary support of Screen Australia – is so thrilled to champion, connect and inspire them as they take their most brilliant stories and businesses to one of the most competitive markets in the world.”

Supporting Partners for these programs include Screen NSW, Screen Queensland, South Australian Film Corporation and VicScreen. Industry Partners are Australian Directors’ Guild, Australian Writers’ Guild, Screen Producers Australia, Screen Canberra, Screen Tasmania, Screen Territory, Screenwest and Screenworks.

The recipients of Talent Gateway are:

Aaron Fa’Aoso: A Torres Strait Islander film producer, director, screenwriter and actor known for his roles in RAN: Remote Area Nurse, East West 101, The Straits, Black Comedy, and as the presenter of several food and travel programs. He is the founder and managing director of film and television production company, Lone Star. Lone Star’s projects include documentary series Blue Water Empire, about the history of the Torres Strait Islands, and the unscripted series Strait to the Plate. Fa’Aoso currently serves on the board of SBS, the board of Screen Queensland and co-chairs the interim body responsible for establishing legislation, processes and institutions for First Nations truth-telling and treaties within Queensland. He also worked with the Queensland Government and other key stakeholders to secure $15 million to create a Far North Queensland film studio in Cairns and is working towards its implementation. Fa’Aoso holds a Masters Degree of Screen Business and Leadership, from the Australian Film Television and Radio School (AFTRS) and in 2022, Pantera Press published Aaron’s memoir, So Far So Good.

Lou Sanz: An award-winning writer, producer and performer. Her debut feature, Audrey, directed by Natalie Bailey will have its world premiere in competition at SXSW in 2024. Her TV credits include How To Stay Married, Life Support and The PM’s Daughter for which she received her second AWGIE nomination. Sanz has also worked in the script departments on beloved Australian dramas including Offspring and The Doctor Blake Mysteries. Sanz will follow up Audrey with her debut feature as writer/director with miscarriage tragicomedy Insufferable (inspired by actual experience). Sanz and her partner, John Kachoyan, participated in Talent USA (NY) after winning AACTA/Screenworks Pitch: Regional Landscapes with their film Land’s End. Sanz is currently working on film and TV projects in Australia, Europe and the USA including with MediaPro (Spain), Wee Beastie Productions (AU), Ipso Facto (UK) and Gambit Media (AU) and a slate of projects with her newly formed production company, Sanzipants.

Stef Smith: An award-winning writer and director who recently directed the Stan Original Film Jones Family Christmas starring Heather Mitchell and two episodes of the Truce Films AACTA nominated series Monologue. Smith is the creator, producer, series director and a writer on AACTA-nominated, AWGIE-winning television miniseries It’s Fine, I’m Fine, debuting on SBS after its world premiere at Canneseries and a sold out Australian premiere at Melbourne International Film Festival (MIFF). Her multiple award-winning, Iris Prize-nominated short film Joy Boy screened internationally, including at Palm Springs International Film Festival and the AmPav Emerging Directors Showcase at Cannes Film Festival. Smith has won an Australian Directors Guild Award and has received four nominations. She is currently the creator/writer of an original drama series with eOne UK, has recently completed writing feature film Anna Robi and The House of Dogs with Maxine Mellor and is an established commercial director with Photoplay Films.

Andrew Undi Lee: A queer, Australian-born Korean director, writer and producer. Lee is the recipient of the AFTRS Kenneth B Myer Award for Exceptional Talent and the Young Australian Korean Filmmaker Award from the Korean Consulate of Australia. His Film and TV writing credits include Melon Grab (Screen Australia’s Hot Shots Short Film Fund), Troppo (ABC), Born To Spy (ABC) and the Korean Australian horror series, Night Bloomers (SBS) – a show he created through the Screen Australia, SBS and NITV’s Digital Originals Initiative that premiered at SXSW Sydney. Lee was also the Korean consultant for The Newsreader (ABC), After The Verdict (Nine Network) and Samantha Strauss’ writer’s assistant on Apple Cider Vinegar (Netflix AUS).

Matt Vesely: A South Australian writer and director, working across TV and film who works as a story producer, writer and development executive with award-winning South Australian collective Closer Productions (Aftertaste, The Hunting, F###Ing Adelaide). His latest short film System Error was selected for the 2020 Tribeca Film Festival and opened the 2021 St Kilda Film Festival. His debut feature film, the science fiction thriller Monolith, starring Lily Sullivan (Evil Dead Rise) and written by Lucy Campbell, was selected to have its international premiere at SXSW in 2023 before screening at the Bucheon International Fantastic Film Festival (BIFAN) (South Korea), Sitges Film Festival (Spain) and Frightfest UK. It was nominated for Best Indie Film at the AACTA Awards and Best Debut at the Australian Director’s Guild Awards.

Nick Watson: A queer, non-binary writer/producer whose work blends animated comedy with sci-fi, fantasy and the supernatural. He wrote for adult animated series Final Space, was the showrunner on kids’ animated series Arpo: Robot Babysitter, and was a development executive at Moonbug Entertainment, as well as a script analyst for ABC-Disney and NBC-Universal. Watson created the popular screenwriting podcast, Paper Team, and taught screenwriting at the University of Melbourne and the Victorian College of the Arts. In 2020, he was nominated for an Australian Writer’s Guild Award and was also named the Victorian College of the Arts ‘Artist in Residence’ at AiF’s dedicated work and networking space in Los Angeles, Charlie’s.

The recipients of Global Producers Exchange are:

Haven’t You Done Well Productions (HYDWP) – Georgia Mappin and Max Miller: HYDWP are an award-winning, comedy specialist production company in the intersection of online and traditional entertainment. The company aims to amplify Australian alternative comedy for the international stage through their direct connection to audience and in depth understanding of comedy consumption across all platforms. Developing and producing comedy for Film, TV and Online, executive producers Mappin and Miller oversee three development slates including Aunty Donna and Grouse House TV. HYDWP credits include Aunty Donna’s Big Ol’ House of Fun for Netflix and Aunty Donna’s Coffee Cafe for the ABC, and online projects Fairbairn in the City, Descent and Finding Yeezus.

Highview Productions – Lisa Scott: Founder of Highview Productions, Scott is a multi-award winning producer, whose recent productions include the hybrid feature documentary Speedway, which previewed at Adelaide Film Festival 2023, short film Blame The Rabbit which premiered on opening night at the festival and shared the audience award for Best Short Film, A Sunburnt Christmas for Stan, and the Stan, BBC1 and HBO Max series The Tourist which smashed ratings records on BBC in 2022 and won three awards at the Monte Carlo Television Festival, including Best Series. She has also produced other multi-award nominated productions The Hunting (SBS), Pine Gap (Netflix/ABC), ANZAC Girls (ABC) and three seasons of Janet King (ABC).

Inkey Media – Dena Curtis: Inkey Media, founded by Dena Curtis, is an Aboriginal production company dedicated to amplifying Indigenous narratives. Inkey’s Rebel with a Cause premiered at Melbourne International Film Festival. Curtis has collaborated as co-producer with WildBear Entertainment on TV series Shadow Trackers and feature film Ella, which premiered at the Melbourne International Film Festival (MIFF) and Guangzhou International Documentary Film Festival. She has also collaborated with See-Saw Films/AMC Network on Firebite and as producer with Blackfella Films on First Weapons. Her collaboration with Magpie Pictures on Grace Beside Me earned nominations at Prix Jeunesse, the Logies and the AACTA Awards, accompanied by a Screen Producers Australia Award and First Nations Media Award.

Lazy Susan Films – Hannah Ngo: Lazy Susan Films is an independent production company that helps bring original and significant projects into being. Founded by Hannah Ngo and grounded in uplifting communities close to home, Lazy Susan produces for diverse voices to tell socially relevant stories. Over the past three years, Lazy Susan has produced a catalogue of award-winning programs that have screened at top festivals around the world including Series Mania, C21 International Drama Awards, Warsaw International Film Festival, AACTA and Cinefest Oz. These programs include series Latecomers (SBS/CBC), Iggy & Ace(SBS), Me & (Her)pes (OML) and most recently Bird Drone, an animated short film that has screened at 63 Festivals and counting. In 2024, Lazy Susan will continue to make space for authentically driven narratives centred around people whose cultural and racial identity are only one part of their story.

Orange Entertainment Co. – Dan Lake and Stephanie Westwood: Orange Entertainment Co. creates compelling stories with ground breaking talent. Since launching in 2019, Orange produced ABC comedy series Retrograde alongside Unless Pictures, executive produced the Network Ten documentary Lindy Chamberlain: The True Story with Easy Tiger, and produced Nine Network true crime documentary series Missing Persons Investigation with Southern Pictures. In 2024, Orange will release two new productions – dark comedy feature Audrey starring Jackie van Beek, co-produced with Invisible Republic and premiering at SXSW Film and TV Festival, and ABC comedy series White Fever (with Black Sheep Films and Unruly Productions), created by Ra Chapman.

Stranger Than Fiction Films – Jennifer Peedom and Sarah Noonan: Founded in 2015 by Jo-anne McGowan and Jennifer Peedom, Stranger than Fiction has gained renown in the non-fiction world, achieving Emmy and AACTA awards and screening at A-list festivals, and has recently branched out into developing narrative projects. Projects include Jennifer Peedom’s Mountain (Australia’s second-highest-grossing documentary released theatrically in 27 countries) and River (2021 Telluride Film Festival, 2022 AACTA Award), Harley & Katya (2023 International Emmy winner, top 10 in six countries on Netflix release) and David Stratton: A Cinematic Life (2017 Cannes Classic, 2018 International Emmy Nominee).

Global Producers Exchange, Talent Gateway and Untapped are part of a suite of initiatives developed to support the advancement of scripted Australian projects – and to ensure Australian stories resonate more competitively internationally, as well as locally.

Supporting Partners

Industry Partners

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

Screen Australia has announced five feature films, one television drama, one children’s program and four online projects, including a virtual reality (VR) experience, that will share in over $6.9 million of production funding.

Among the projects greenlit for production is The Correspondent, the latest feature film from acclaimed director Kriv Stenders, known for his work on Red Dog and Danger Close: The Battle of Long Tan. This film delves into the challenges faced by an Australian journalist reporting in Egypt. Beloved children’s program Spooky Files returns with season 2, continuing the escapades of the Spooky Crew as they embark on a new adventure through another dimension. VR experience Heroes sheds light on the confronting realities faced by four children living in a war zone. Rounding out this dynamic line up is the highly anticipated second season of Last King of the Cross on Paramount+.

Screen Australia’s Director of Content Grainne Brunsdon said, “We’re delighted to unveil this latest slate of productions, with each project exemplifying the power of storytelling and brilliant filmmaking across a range of genres and platforms. From diverse voices to innovative visions, these narratives showcase the boundless creativity at the heart of our thriving screen industry, and we can’t wait for audiences to immerse themselves in these extraordinary tales.”

The funded feature films are:

Kangaroo: A heart-warming family comedy about ex-tv personality, Chris Masterson who becomes stranded in an outback town after a car accident on his way to Broome. There, he forms an unlikely friendship with 11-year-old Indigenous girl Charlie. In Kangaroo, Chris and Charlie work together to rescue and rehabilitate orphaned joeys in the remote but stunning outback community – an endeavour that proves to be life-changing for them both. Kate Woods (The Lincoln Lawyer, The Umbrella Academy, Looking for Alibrandi) is directing and Harry Cripps (The Dry) is writing, with additional writing by Melina Marchetta (Looking for Alibrandi). Also attached are producers David Jowsey (True Colours), Greer Simpkin (Sweet Country), Rachel Clements (MaveriX) and Trisha Morton-Thomas (8MMM Aboriginal Radio). Executive producing is Anna Marsh, Ron Halpern, Elizabeth Trotman and Marcus Gillezeau from STUDIOCANAL and Louise Smith and Marian Macgowan. It is financed in association with Screen Territory with support from Screen NSW. STUDIOCANAL are distributing locally and managing international sales.

One More Shot: On New Year’s Eve 1999, Minnie discovers a bottle of time travelling tequila that takes her back to the start of the night in this time loop comedy. Armed with this mysterious bottle of tequila, she hopes to win the heart of on-again-off-again-old-flame Joe, but no matter what she does, she can’t escape herself. One More Shot is directed by Nicholas Clifford (Monologue) and written by Alice Foulcher and Gregory Erdstein, whose credits include That’s Not Me. Nick Batzias and Virginia Whitwell of Nitram and Nude Tuesday are producing alongside Jim Wright and Elise Trenorden of Monologue and This is Going to be Big. It is financed in association with the Melbourne International Film Festival (MIFF) Premiere Fund and VicScreen. Handling local distribution is Madman Entertainment, and it has been developed with the assistance of Scripted Ink and Screenwest.

Red Rock Run: This family feature film follows 10-year-old Lucy who is forbidden from attending the 1978 regional athletic trials as punishment for racing a delivery plane on a remote dirt airstrip. But with the help of her grandmother, she defies her Vietnam veteran father and enters the first kids’ team into the Red Rock Run, a gruelling 120km outback marathon race. The film is directed by Cathy Randall (Hey, Hey, It’s Esther Blueburger), written by Meg Shields and produced by Miriam Stein (Hey, Hey, It’s Esther Blueburger). Red Rock Run is financed in association with Screenwest and Lotterywest, Screen NSW and Spectrum Entertainment. Icon Film Distribution is handling local distribution, with international sales managed by Parkland Pictures. The film is developed with the assistance of Screenwest and Lotterywest, Icon Film Distribution and Screen NSW.

Spit: In the sequel to the award-winning crime comedy, Gettin’ Square, ex-junkie John Spitieri returns to Australia, only to find himself locked up in an Immigration Detention Centre with a massive target on his back. But as old enemies come looking for him, determined to settle old scores, he also makes new friends amongst the detainees, teaches them his version of mateship and what it means to be truly Australian. Spit is from director Jonathan Teplitzky, writer Chris Nyst and producers Greg Duffy (Last Cab to Darwin) and Trish Lake, whose credits include Gettin’ Square. Also producing are Felicity McVay and David Wenham (The Furnace). Faramarz K-Rahber (Journey Beyond Fear) and Sofya Gollan (Swallowing) are attached as consultants. It is financed in association with Screen Queensland. Local distribution is by Transmission Films and international sales are managed by Moviehouse Entertainment.

The Correspondent: December 2013, in the shadow of the Great Pyramids of Egypt, Australian journalist Peter Greste is confronted with the brutal realities of reporting from one of the most dangerous cities on earth. Accused of terrorism, Greste becomes a pawn in the middle of a deadly game full of corrupt officials and ancient rivalries – with only his wits keeping him alive. The Correspondent is directed by Kriv Stenders (Red Dog, Danger Close: The Battle of Long Tan), written by Peter Duncan (Operation Buffalo, Rake) and produced by Carmel Travers (One Four – Against All Odds, My Freaky Family, Alien TV). It is financed in association with Screen NSW with support from Jovial Planet Productions, Spectrum Films, Dreamlight Studio and the Adelaide Film Festival Investment Fund. Maslow Entertainment is distributing locally, with Moviehouse Entertainment managing international sales.

The funded television drama is:

Last King of the Cross season 2: Following on from season 1, John Ibrahim sets his sights on capturing a new kingdom after returning to Sydney – the glittering prize of Oxford Street. With it comes new challenges and enemies, along with the relentless scrutiny of Liz Doyle and the full force of the Sydney police. Freshly released from jail, Sam builds the largest bikie chapter in Australian history, putting John on a collision course with the entire criminal world. Last King of the Cross season 2 for Paramount+ is directed by Grant Brown and Ian Watson of Last King of the Cross season 1 and Tori Garrett (Doctor, Doctor). It is written by Sam Meikle (Wakefield), Sarah Smith (Amazing Grace), Fin Edquist (MaveriX), Jane Allen (In Our Blood), Tim Pye (Bali 2002) and James Pope (Last King of the Cross season 1). Alexandra Doering and Mark Fennessy of Last King of the Cross season 1 are producing and executive producing respectively, with Rick Maier from Paramount also executive producing. It has received major production investment from Paramount Australia and is financed with support from Screen NSW. International sales are managed by Cineflix Rights, with post, digital and visual effects supported by Screen NSW and Screen Queensland.

The funded children’s project is:

Spooky Files season 2: In this second iteration of the popular ABC and BBC series, the funny and spooky adventure continues. After closing a portal to a spooky dimension in season 1, the Spooky Crew has their work cut out for them when the portal reopens six months later in Season 2. They must regroup to save their town from Spooky mayhem yet again, whilst learning there’s a big difference between the fears that keep you safe and the ones that hold you back. Returning from Spooky Files season 1 are creators/writers Guy Edmonds and Matt Zeremes, and writers Marisa Nanakhorn Brown, Emma Gordon, Clem Bastow, alongside Tim Williams (XXXThe Heights season 2XXX) and Alexander Andreotti. From the makers of hit shows Hardball and Nowhere Boys, the series is a Tony Ayres Productions (TAP) and Megaboom Pictures production. It is produced by Paul Watters and executive produced by Tony Ayres and Andrea Denholm, whose credits include Spooky Files season 1. TAP is backed by Matchbox Pictures and Universal International Studios, a division of Universal Studio Group. The series is financed in association with the ABC, BBC and VicScreen, with international sales being managed by NBCUniversal Global Distribution.

The funded online projects are:

Cooking for Seamus: This 10-part documentary series for YouTube follows old time sing song man and animal lover Archer, who attracts celebrity chefs to a paddock in Central Victoria where their culinary creations are judged by Seamus, a six-year-old disabled Angus Bull whose passion is food. In Cooking for Seamus, Archer’s casual charm and astonishing singing ability with Seamus’s immense wobbly salivating enthusiasm for food disarms all – with unique personal stories and experiences emerging from each ‘chef’ encounter. The series is directed by Matthew Walker (I’m Wanita) and produced by Carolina Sorensen (Lustration) and Clare Lewis (There Goes Our Neighbourhood). It is financed with support from philanthropy via Documentary Australia.

Descent: A five-part, genre-bending science fiction comedy series for YouTube following three self-described ‘scientists’ on a perilous mission to the bottom of the ocean, desperate to find a new home for humanity and save everyone from climate doom. As the crew of the UHM Hope submarine descends deeper into the uncharted abyss, they are forced to confront unforeseen dangers and encroaching madness in their search for the mysterious long-fabled Eel City. From Haven’t You Done Well Productions, Descent is directed by Liam Fitzgibbon (Hot Department: Dark Web) and written by Millie Holten (The Undergarment Odysseys), Madi Savage (The Candyman) and Ella Lawry (We Never Asked For This), who is also creative director. Producing is Monique Mulcahy (The Most Upsetting Guessing Game) and executive producing is Max Miller and Georgia Mappin, whose credits include Aunty Donna’s Coffee Cafe. It is financed in association with VicScreen.

Heroes: In this 20-minute virtual reality (VR) experience, four children from diverse backgrounds find refuge in an abandoned school building, in the middle of a war zone. Through sharing and listening to each other’s stories, taken from interviews conducted with survivors of war, they connect and find resilience to endure the horrors of global conflict. Heroes is written, directed and produced by Peter Hegedüs and produced by Bobbi-Lea Dionysius, whose credits include Sorella’s Story and To Never Forget. It has received principal production funding from the Queensland Holocaust Museum, with support from Griffith University.

Long Head: Based on a webcomic, this six-part comedy animation series for TikTok tracks the adventures of Long Head, a man with a long head, a big heart and nothing behind the eyes. Long Head may be an idiot, but he’s an unlovable idiot. Starring Sam Campbell, Tom Walker and Kate Dehnert, the series is from writer/director/creator Millie Holten and director Annabelle Ots, with Dan Ilic (At Home Alone Together) attached as producer.

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

Screen Australia has announced three documentaries funded through the Commissioned Program and four projects through the Producer Program that will share in over $1.7 million of production funding.

Among the projects are Deeper that follows Thai Cave Rescue divers Richard Harris and Craig Challen on their fascinating exploration of the deepest freshwater cave in the world; NITV feature Skin in the Game which dives into the highly-contested world of rugby league and women’s sport in Australia — hosted by proud Gamilaroi and Dunghutti woman and rugby league royalty, Marlee Silva; Floodland documents Australia’s most flood-prone postcode of Lismore and the aftermath of the 2022 floods; and SBS documentary Osher Günsberg: My Journey Beyond Pain, the follow-up to Osher Günsberg: A Matter of Life and Death.

Screen Australia Head of Documentary Alex West said, “From exploring the natural phenomena and the power of Mother Nature to the complexity of our minds and bodies, this diverse collection of documentaries is not to be missed. We are proud to be supporting such talented creatives in our shared mission to bring voices from all walks of life to the screen and are excited that viewers will have the opportunity to be immersed in these deeply personal stories.”

The projects funded through the Commissioned Program are:

Osher Günsberg: My Journey Beyond Pain: This one-hour follow-up to Osher Günsberg: A Matter of Life and Death for SBS follows presenter Osher Günsberg as he undertakes a personal investigation into his own pain journey and where he not only meets people living with chronic pain and explores new treatments, but also those who enjoy pain and seek it out. David Galloway (War on Waste) is writing/executive producing, with Ashley Davies (Could You Survive on the Breadline?) and Leonie Lowe (Osher Günsberg: A Matter of Life and Death) also attached as executive producers. My Journey Beyond Pain is funded in association with SBS. It is financed with support from Screen NSW. International sales will be managed by Escapade Media.

Skin in the Game: This 60-minute documentary for NITV follows Marlee Silva, a proud Gamilaroi and Dunghutti woman who grew up in the world of rugby league as the daughter of legendary footballer, Rod ‘Rocket’ Silva. Now, as an emerging sports commentator and media star, Marlee dives into the highly-contested world of rugby league and women’s sport in Australia to ask where we are heading as a nation. Skin in the Game is written and directed by Dena Curtis (A League of Her Own), with Marlee Silva (Tiddas 4 Tiddas), Laurie Critchley and Georgia Woodward of Magda’s Big National Health Check executive producing. It is financed in association with NITV, with support from Screen NSW and the Shark Island Institute.

Australia: An Unofficial History: This three-part series for SBS cracks open a forgotten vault to reveal the stories and pictures of Australia as it went through a startling transformation in the 1970s. This documentary depicts a country that resisted change for so long and highlights what eventuated into the modern nation we now know – exploring the difficulties that underrepresented groups living in Australia experienced and the gains they made that now need to be protected. Australia: An Unofficial History is from writer/director Chris Eley (Designing a Legacy), director Pauline Clague (When Colin Met Joyce), director Ili Baré (Australia’s Open) and producers Jo-anne McGowan (River, Mountain) and Rebecca Bennett (Ghosthunter). It is financed in association with SBS with support from the National Film Sound Archive (NFSA), Screen NSW and The Post Lounge. International sales will be managed by ABC Commercial and post, digital and visual effects are supported by Screen NSW.

The projects funded through the Producer Program are:

Deeper: This feature-length documentary follows heroes of the Thai Cave Rescue, Dr Richard “Harry” Harris and his dive partner Dr Craig Challen, as they challenge themselves to solve the mystery of one of the world’s deepest freshwater cave systems, New Zealand’s Pearse Resurgence. As they tackle the last frontier of exploration, pushing to record depths in a cold, dark and scary underworld, they will test the relationships of those closest to them, including each other. Attached is writer/director Jennifer Peedom (Sherpa) and producer Blayke Hoffman (International Emmy Award-winning Harley & Katya). Sarah Noonan (OneFour: Against All Odds) and Jo-anne McGowan (Mountain) are attached as executive producers. It is financed in association with Screen NSW who are also supporting post, digital and visual effects. Local distribution is by Madman Entertainment, with K2 studios managing international sales.

Floodland: A feature-length documentary following Australia’s most flood-prone postcode of Lismore, after it was shattered by its worst-ever catastrophe in 2022. Floodland goes beyond the headlines of the most expensive climate disaster in Australia’s history and asks whether the region as we know it can survive. In the struggle for the soul of Lismore, Bundjalung leaders emerge with a different vision, where First Nations knowledge plays a vital role in healing, planning and respecting the rivers. Through the story of Floodland, audiences are confronted with a challenging history and an uncertain future that affects us all. Writing/directing is Jordan Giusti (Reptile, Grevillea) and co-writing is Joseph Nizeti (River). Also attached are producers Gal Greenspan and Rachel Forbes and executive producer Alice Burgin, whose credits include The Defenders. It is produced in association with VicScreen. Local distribution is managed by Bonsai Films, with post, digital and visual effects supported by Blue Post.

The Musical Mind a portrait in process: Inspired by the 25th anniversary of his movie Shine, writer/director Scott Hicks explores the creative process of four elite international musicians in this feature-length documentary. With unprecedented access to their private worlds, the film celebrates how each neuro-atypical artist expresses their unique creativity, power and pain of their art with passion, emotion and humour. The Musical Mind a portrait in process is produced by Kerry Heysen (The Lucky One), written/co-produced by Jett Heysen-Hicks and executive produced by David Chiem (Limbo) and Mikael Borglund (John Farnham: Finding the Voice). It is funded in association with the South Australian Film Corporation (SAFC) and financed with support from the Adelaide Film Festival Investment Fund. Local distribution by Bonsai Films with international sales managed by Banijay Rights. It was developed with the assistance of SAFC, who also supported post and digital effects.

Welcome to Yiddishland: A feature-length observational documentary about a global movement of artists as they revive the ancient and endangered Yiddish language, to share an inclusive and progressive understanding of their world. Guided by the experience of a cross-cultural youth choir as they learn and finally perform new Yiddish songs at the world’s leading Yiddish arts festival in Germany, Welcome to Yiddishland follows theatre directors, writers, musicians, and performers as they unlock and transmit the hard-learned lessons of their ancestors. It is written and directed by Ros Horin (The Baulkham Hills African Ladies Troupe, Rosemary’s Way) and produced by Jeff Daniels (Television Event, Fair Game). It is financed with support from Philanthropy via Documentary Australia. It was developed with the assistance of VicScreen and Screen NSW, with Label Distribution managing local distribution.

Documentary Production Statistics

The Documentary Production statistics on Fact Finders have been updated to include an analysis of Australian titles that went into production in the 2021/22 financial year.

The data shows that 207 titles were produced in 2021/22 generating 562 hours of content – 9% above the 5-year average. Total budgets for documentaries that commenced production in 2021/22 was a record high at $247 million, with an 8% increase on 2020/21. Budgets were also 17% above 5-year average.

About Documentary Funding at Screen Australia

The Documentary Producer program is designed to give producers the foundational funding required to leverage their projects creatively and commercially. It must have a clear path to audience but marketplace attachment is not required at the application stage.

The Documentary Commissioned program is designed to support the production of a diverse range of quality projects for television broadcast, SVOD or similar. It must offer a compelling vision with a clear and enduring cultural value, and have a local presale with a minimum license fee at application stage.

The Documentary Development program aims to assist documentary makers in achieving planned outcomes for the development of their projects. Screen Australia also supports documentary projects through targeted initiatives such as Fresh Cuts with the Australian International Documentary Conference (AIDC) and Curious Australia with SBS.

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