APPOINTMENT TO THE SCREEN AUSTRALIA BOARD
The Albanese Labor Government has today announced the appointment of award-winning producer Darren Dale as a member of the Screen Australia Board for three years.
Screen Australia is the national peak funding body that supports the development, production, promotion and distribution of Australian screen content.
Minister for the Arts, Tony Burke, said Mr Dale’s significant industry experience and knowledge will be an asset to the Board.
“Darren’s work will be familiar to many Australians, including his work on the television series Total Control – which I was able to see firsthand with some scenes being shot in the halls of Parliament House.”
“I’m looking forward to seeing Darren’s strong contribution as a member of the Screen Australia Board, helping to make sure more Australian stories are told on screen and shared with audiences everywhere.”
Darren Dale is an award-winning film and television producer and is the managing director of First Nations-owned production company Blackfella Films.
His celebrated works have won numerous AACTA, Logie and Festival awards and span documentary, drama and television programs, including First Australians (2008), Total Control (2019-2024), First Contact (2014-2016), Filthy Rich and Homeless (2017-2020), and Redfern Now (2012-2014).
In 2012, Mr Dale was awarded an honorary degree from the Australian Film Television and Radio School (AFTRS). He currently serves on the boards of the Sydney Film Festival, the Sydney Festival and the National Institute of Dramatic Art, as well as serving on the NSW Government’s Creative Communities Council. He is also a member of the Academy of Motion Picture Arts and Sciences.
SCREEN AUSTRALIA INVESTS OVER $2 MILLION IN AUSTRALIAN GAMES INDUSTRY
Screen Australia has announced over $2 million in funding to boost the Australian games sector. This includes support for 12 games through the Games Production Fund, 27 games through the Emerging Gamemakers Fund and funding for three events through the Games Event Fund.
The Games Production Fund and Emerging Gamemakers Fund offer critical support to Australian independent gamemakers, aimed at providing funding for original games with budgets below $500,000; and fostering new talent with professional development opportunities.
These initiatives are backed by the Federal Government’s National Cultural Policy Revive, which includes a commitment of $12 million over four years from the 2023/24 financial year to Screen Australia’s games funding.
Minister for the Arts Tony Burke said, “Video gaming has come a long way – now this global multi-billion-dollar industry offers a staggering variety of unique ideas and techniques for storytellers to connect audiences and explore their creativity. Our Government is committed to nurturing emerging talent in this booming field with $12 million to press play on gamemakers’ careers.”
CEO of Screen Australia, Deirdre Brennan said, “This significant investment highlights our ongoing commitment to fostering growth and innovation within Australia’s games industry. By supporting these projects and industry events, we’re nurturing local developers and small to medium studios, reinforcing our position as a global leader in independent game-making.”
“Demand for games funding is growing, with Screen Australia receiving over 370 applications, twice as many as the previous year. This reflects the increased role of targeted support for our local industry in an increasingly competitive landscape,” said Brennan.
Since March 2022, Screen Australia has provided over $12.5 million in tailored games funding programs, for projects including Feed the Deep, Diets and Deities and The Sacred Acorn. The agency supports games across a variety of platforms, such as PC, Mac, Linux, Nintendo Switch and iOS/Android, with games aimed at release on the App Store, Google Play, Steam, itch.io, Nintendo eShop and more.
The projects supported through the Games Production Fund include:
- Cozy Commons (SA): A life simulation game where players take on day-to-day activities as they discover the secrets of the town and the inhabitants who live there. Players can engage with the community, build their skills, search for collectables and decorate their home, all while discovering the rich world of stories from the characters they meet along the way. The team includes lead developer Tom Longo and lead artist Rebecca Hadland.
- Doggy Don’t Care (NSW): In this comedic, adventure platformer, players unleash adorable chaos as a mischievous pup. By exploring, collecting and smashing their way around the house and beyond, players fetch the approval of their feathered friends - digging into a list of fun-filled tasks to earn mischievous badges. The team includes founder/creative director Rohan Nowell, graphic designer Carlo Delos Santos and composer/SFX artist Dominique Parker.
- Frogreign (QLD): In this story-driven platformer, players join frog prince Rill on an amphibious action-adventure to unravel a royal conspiracy. Using Rill’s tongue as a grappling hook and other frog abilities to seamlessly leap, swing, dive and swim through a variety of locations and challenges. Players can explore the depths of the realm of Callidrya, filled with chaos and secrets. The team includes creative director Bryce Watson, designer Dallas Smart, writer Natasha Cox, lead developer Nico Plotz, composer Alejandro Perez Heinze and audio engineer Andres Buitrago.
- Jupiter Junkworks (VIC): A fast-paced new take on the arcade puzzle genre featuring a narrative campaign mode where players rebuild a spaceship salvage yard. Jupiter Junkworks is from lead developer and producer Will Deragon, character illustrator and narrative designer Georgia Pedersen, composer Jam Nawaz (JAMATAR), sound designer Zander Hulme, 3D artist Paul Mahoney, animator Kiat-Boon Pierce and voice artist Audrey Willowbrook.
- Zodiac Mountain (WA): In this roguelike deck-building adventure game, players embark on a mystical journey as a determined Panda, seeking to prove their worth by challenging mythical creatures and the Chinese Zodiacs. The team includes CEO/MD/Founder Kevin Jiang, game designer/2D artist James Knight, 2D artists May Huang and Sylvia Lian, lead programmer Laurence Anthony Valentini, UI/UX designer Daisy Chan and sound designer Ian Chen.
The projects supported through the Emerging Gamemakers Fund include:
- Aussie Rules (SA): A sports party roguelite game fusing action-packed gameplay with absurd Aussie humour. Players can challenge friends to unpredictable matches driven by wild mechanics, all tied together by a retro aesthetic and surrealist satire based on Australian culture. The team includes producer David Ashby, developer Tyler Roach, writer and voice artist Broden Kelly and composer Dario Russo.
- Feral Scape (NSW): From developer Joseph Dowsett (BARCHboi), Feral Scape is an open-world fantasy RPG where player choices drive exploration, crafting, and game modding. Drawing inspiration from Australian locations, players engage in exploration and community-building within a fantasy setting in order to complete quests related to a wolf prophecy - aiming to unite different factions.
- LunaGenesis (VIC): An adventurous, experimental RPG where players take on the role of a young witch lost in a cursed city whose residents are trapped in their own nightmares. To escape, players navigate dream realms and uncover secrets about a shape-shifting antagonist. LunaGenesis is from creative director/programmer Michaela Vranic-Peters, programmer/producer Natasha Vranic-Peters and lead artist/AI programmer Nathan Semertzidis.
- Project Backbone (ACT): Follows the story of technomancer Zeke and alchemist Percy – two unlikely ‘not boyfriends’ working out their situationship. Players take on the role of Zeke as he and Percy traverse a tower that is growing out of the earth like a cancer – experiencing a combination of magic and technology and praying that their situationship stays strong the whole way through. Project Backbone is from creative director Alex Murphy and lead artist Hannah Levi.
- Project Dairy Cat (VIC): A deckbuilding tactics heist game set in a sci-fi future. Players take on the role of the infiltrator for a crew of space pirates who intercept and loot unmanned freighters. The team includes technical director Joel Davison, art director Sasha Mutch, composer Jess Cerro, audio engineer Kathryn Gledhill-Tucker and UI artist Olivia Ong.
- The Troll and the Witch’s House (SA): This point and click puzzle mystery is from solo developer Ditte Wad Andersen. Players take on the character of a troll captured in a strange house. In the process of trying to escape, players piece together the fragments of the past, so the troll can slowly unravel the truth behind the house’s tragedy - and in doing so, find the key to their escape.
Screen Australia announces $8.1 million of production funding for 15 projects
Screen Australia has announced over $8.1 million in production funding for 15 projects spanning feature film, television and online content. This significant investment reflects Screen Australia’s ongoing commitment to fostering innovative storytelling and content that engages audiences across genres and platforms.
Among the funded projects are Zac Power, a new animated family feature from Flying Bark Productions and Cheeky Little Media, based on the popular book series of the same name; Leviticus, the latest feature from Causeway Films, the production company behind the global breakout success Talk to Me; romantic comedy Love Adjacent; Stan’s psychological thriller series Watching You; and online series Hoops, from the creative team behind the popular TikTok documentary Transathletica.
Screen Australia CEO Deirdre Brennan said, “These latest projects reflect the depth of creative storytelling that defines the Australian screen industry. We support projects that entertain and resonate with audiences. Our aim is to champion authentic local voices and ensure our sector remains at the forefront of global storytelling.”
“For the 2023/24 financial year, Screen Australia invested over $85 million across all 57 funding programs, including over $5.5 million through the First Nations Department, and issued 205 final certificates through the Producer Offset with a total value of $413 million. Demand on Screen Australia support remained high, with the agency supporting just under a third of all applications received. We’ll continue to seek ways to provide impactful support within our limited capacity, prioritising audience connection, industry value and cultural relevance.”
Over the past year, Australian projects demanded global attention with 61 Australian projects selected for international film festivals and events. Amongst those titles, online series Videoland took out Best Comedy series at the prestigious Festival Series Mania, critically acclaimed debut feature Shayda won the Sundance Audience Award, and Furiosa and Australia/Ireland Co-production The Surfer starring Nicholas Cage led the Australian contingent hosting World Premieres at Cannes Film Festival. Funding stories that reflect and connect remains a focus and in 2023/24, the agency supported a breadth of titles that highlight local screen talent including drama series Top End Bub, feature film JIMPA and a new slate of children’s content including DO NOT WATCH THIS SHOW, an animated adaptation of the popular children’s book series by comedian and author Andy Lee.
“Our focus is firmly on the future. We’re building a sustainable screen economy that both adapts and inspires. I’m thrilled by the international recognition of our stories and excited for the pipeline of projects set to release before the end of the year including films Memoir of a Snail and The Moogai, along with series’ Thou Shalt Not Steal, Four Years Later and Plum – I can’t wait for Australians to experience them,” continued Brennan.
The projects funded for production include:
- Chasing Millions: A crime drama set in Belfast 2004, where Northern Ireland has been at peace for six years, but old enmities and mistrust remain. Chasing Millions tells the story of the biggest bank heist in Irish, British (and Australian) history making reluctant partners of ambitious Australian police officer, Diana, with gruff, veteran Northern Irish detective, Crawford, as they investigate and seek to solve the crime while navigating their way through the minefield of a fragile peace. An official Irish-Australian co-production with Irish director Stephen Burke (Maze) at the helm, based on a script by Stephen Burke and Katherine Thomson (Schapelle, House of Hancock). Producers are Jane Doolan (Maze, Wolf) of Mammoth Films, Ireland and Michael Wrenn (Audrey) of Invisible Republic, Australia. It has received major production investment from Screen Ireland, with local distribution by Bonsai Films and international sales by Level K.
- Displaced: A six-part comedy sci-fi series for YouTube that follows a dysfunctional physicist who is accidentally sent back in time and in the process, tries to fix her future by mentoring her younger self. Displaced is a comedy about depression, queerness, making trouble, healing an inner child, and being seen. It is from writer/director Molly Daniels (The InBESTigators, Wispy), writer/producer Jem Splitter (Galacticare) and producer Rachael Morrow. Displaced is produced and developed in association with VicScreen and financed with support from the Community Broadcasting Foundation.
- Hoops: From the team behind Transathletica on TikTok, Hoops documents the journey of Transgender Basketballer Lexi Rodgers and her fight to be ruled eligible to play with a NBL1 South team. After a major setback in 2023, Lexi spends the year jumping through hoops - determined against all odds to play in the 2024 season. Hoops is from writer/director Hannah McElhinney, writer Rudy Jean Rigg and executive producer Jamie Searle of Transathletica, with Eliza Bone (Letter for the King) producing.
- Leviticus: The latest horror feature film from the production company behind box office hit Talk to Me, Leviticus is the story of two teenage boys living in a conservative Christian community in regional Victoria, Naim and Ryan. When their attraction to each other is identified by the local pastor, the pair are subjected to a conversion ritual which unknowingly releases an entity that terrorises the town. Leviticus is from writer/director Adrian Chiarella (Totally Completely Fine), and producers Hannah Ngo (Latecomers) and Samantha Jennings and Kristina Ceyton of Causeway Films. It is financed in association with Salmira Productions, and developed and produced in association with VicScreen, who is also supporting post, digital and visual effects (PDV). PDV is also supported by Kojo Studio, with local distribution by Maslow Entertainment and international sales by Studio 301 Films.
- Love Adjacent: When food critic Maggie writes a review that causes top chef Ryan’s restaurant to go under, he is forced to retreat back home and start again from scratch. Coincidentally in the same town for her sister’s wedding, Maggie is determined to continue taking down what Ryan is serving up, that is until catastrophe strikes and Maggie desperately needs Ryan’s help to make her sister’s wedding happen. Love Adjacent is a romantic comedy feature film directed by Louise Alston (Back of the Net) and written by Sarah Mayberry (Neighbours) and Christopher Gist (The Broken Shore), with Kate Whitbread (The Caterpillar Wish) and Spencer McLaren (This Little Love of Mine) producing. It is produced in association with VicScreen, with Umbrella Entertainment distributing locally and Film Seekers managing international sales.
- Posthumous: In this drama, horror feature film, Zoe returns to her family home and estranged father to find some semblance of comfort after her life falls apart, but the discovery of a mysterious videotape threatens to undo everything she knew about her deceased mother’s final days and her own birth. Amidst their shared grief, Zoe and her father face a powerful supernatural force as long-buried events are exposed, and must be reckoned with. Posthumous is from writer/director/producer Josh Tanner (Wandering Soul) and writer/producer Jade van der Lei (6 Festivals), with Joel Anderson (Lake Mungo) executive producing. It is funded in association with Screen Queensland. Financed with support from the Gold Coast Screen Incentive, with local distribution by Kismet Movies.
- Saccharine: In this psychological horror feature from Carver Films (Run Rabbit Run), a lovelorn medical student becomes terrorised by a hungry ghost after taking part in an obscure weight-loss craze: eating human ashes. Saccharine is from writer/director/producer Natalie Erika James and producers Anna McLeish and Sarah Shaw, the team behind Relic. It is produced in association with VicScreen, with local distribution by Maslow Entertainment and international sales by XYZ Films.
- Watching You: A six-part gripping psychological thriller for Stan based on J.P Pomare’s novel The Last Guests. Watching You is created for television by Alexei Mizin and Ryan van Dijk and produced by Jason Stephens and Bree-Anne Sykes. Helen Bowden, Cailah Scobie and Alicia Brown are executive producing. It has received major production investment from Stan and is financed with support from Screen NSW through the Made in NSW Fund. Post, digital and visual effects supported by Screen NSW. Financed in association with and distributed by ITV Studios.
- Zac Power: Based on the popular book series of the same name, Zac Power is an animated family feature from Flying Bark Productions (200% Wolf, 100% Wolf) and Cheeky Little Media (Kangaroo Beach, Ginger and the Vegesaurs). Zac Power’s position as the top teenage spy is compromised after a brilliant new agent arrives. When his recklessness allows an ostentatious supervillain to steal a high-tech weapon, Zac is forced to confront his own flaws and team up with his rival. The film is directed by Alexs Stadermann and David Webster and written by Fin Edquist, John Armstrong, Lawrence Leung and Erica Harrison. It is financed in association with the Australian Children’s Television Foundation.
Also announced today are 27 television dramas, 23 feature films and six online projects that will share in over $1.7 million of development funding. Of these, 24 projects have been supported through the Generate Fund, 26 through the Premium Fund and six through the Online Development Fund.
The projects include online action adventure series Amy the Pirate; family music drama feature Piano Mums, following a promising teenage pianist and exploring the power of music and love of family; Skip Ahead project Life of Kea that has been developed into a television drama series; and a second season of the TikTok docuseries Sextistics, which continues to explore the statistics to create a snapshot of gender, sexuality and identity within Australia.
Last month in the Administrative Appeals Tribunal (AAT), English producer Phil Hunt lost an appeal against Screen Australia’s refusal to facilitate funding for a film he had backed, a $900,000 thriller called Fragmentary.
That decision meant the production missed out on an expected rebate of $340,000 through the producer offset, and Hunt spent close to the same again in legal fees. And, he argues, it will have a chilling effect on independent production in this country.
“Screen Australia is responsible for ensuring that final certificates [which allow the rebate to flow] are only issued in accordance with the legislation,” a spokesperson for the agency said in a written response to questions from this masthead. “Screen Australia has no discretion to depart from the statutory requirements.”
Yet that is precisely what some in the industry are convinced it is doing – favouring projects in which it has a financial stake at the expense of those in which it does not. And as a result, some small independent producers claim they are being pushed to, and sometimes over, the brink.
Though it is impossible to prove there has been a shift in how the offset is administered, some in the industry who believe it to be the case suggest it is in response to pressure from Treasury to reduce the amount of money going out the door to filmmakers.
“They’re picking what they believe to be easy targets, small films, instead of going after where the increase has actually happened, to make it look like they’re taking action so they can keep Treasury happy,” says one producer who has found their project under intense scrutiny.
Sequel to Sweet Country, among 19 projects supported by Screen Australia’s First Nations Department
*Warwick Thornton, director of Wolfram: A sequel to Sweet Country
Screen Australia’s First Nations Department is thrilled to announce its latest funding slate, including Warwick Thornton’s sequel to Sweet Country titled Wolfram, alongside two powerful documentaries for NITV spanning sport and politics.
In total, 19 new projects, including 16 funded for development, will receive over $3 million in funding. This investment reflects the agency’s ongoing commitment to amplify First Nations voices and stories, aligned with the Federal Government’s National Cultural Policy Revive and its First Nations First pillar - recognising and respecting the crucial place of First Nations stories at the centre of Australia’s arts and culture.
Screen Australia’s Head of First Nations Angela Bates said, “Our First Nations creatives are at the forefront of Australian storytelling, with many incredible projects being celebrated on the world stage and even more in development. The demand for our funding has never been higher, which is a positive sign for the industry. Across the 23/24FY, our Department invested over $7.1 million of funding including 105 opportunities across development, production, initiatives, attachments and market support - highlighting the incredible talent and rich narratives within Indigenous communities. With films like Wolfram and documentaries Dreaming Big and One Mind, One Heart, I’m inspired by the depth of powerful screen stories authored by First Nations Australians.”
“It’s an exciting time for First Nations content creators, and we’re witnessing a new wave of talent. Looking ahead, we will continue to create pathways for these storytellers to thrive and expand their careers in the competitive global marketplace, collaborating with industry to enhance project visibility and impact,” said Bates.
This funding announcement follows a year of significant achievements for First Nations stories and creatives. Feature films The New Boy and The Moogai have garnered international acclaim. The third series of the landmark drama Total Control captivated local audiences with it being the most watched First Nations series in 23/24. Additionally, the ground-breaking children’s show Little J & Big Cuz returned for its fourth series on NITV and ABC, featuring 17 language groups and providing a powerful voice for children across Australia. The feature length documentary Kindred premiered on NITV in June, further highlighting the power of cultural connection.
In the past year, the Department has also invested $1 million into the Enterprise program, supporting four First Nations businesses and three practitioners. Collaborating with Instagram Australia, it launched the fourth iteration of the First Nations Creators Program, supporting emerging talent in the content creator economy to build their skills in the digital space. The Department also supported six projects for production through the First Facts: First Nations Factual Showcase initiative, providing emerging and mid-career Aboriginal and Torres Strait Islander filmmakers with opportunities to create 10-minute documentaries for Network 10.
Warwick Thornton, director of Wolfram: A sequel to Sweet Country said, “This is my family’s story. My great grandmother and her daughters worked the Hatches Creek mines for whitefellas. Now a truth will come out and it’s called Wolfram.”
The projects funded for production are:
- Wolfram: A sequel to Sweet Country: Set three years after Sweet Country, Wolfram continues the story of Philomac, now 17 and still living under the watchful eye of his ill-tempered master Mick Kennedy. After meeting Max and Kid, Philomac decides to free himself and the siblings from the white men’s brutality by running away into desert country. Along the way they are assisted by a pioneering family of Chinese Australian miners Jimmi and Wang Wei, who help reunite the children with their estranged mother Pansy. Wolfram is directed by Warwick Thornton and written by Steven McGregor and David Tranter, whose credits include Sweet Country. Also producing alongside Tranter is David Jowsey and Greer Simpkin of Sweet Country and Cecilia Ritchie (Limbo). It is financed with support from Screen NSW and the Adelaide Film Festival Investment Fund. Distributing is Dark Matter Distribution, with international sales managed by Memento.
- Dreaming Big: This six-part series for NITV takes an intimate look into the lives of gifted Aboriginal and Torres Strait Islander Australian youths on the cusp of becoming the nation’s next generation of sports stars. Each episode highlights two young elite athletes, showcasing their relentless pursuit to reach the pinnacle of their chosen field as they navigate family and cultural obligations while remaining focused on their goals. The series will be directed by Andrew Dillon (Le Champion) and Abraham Byrne Jameson (One by One), with writer/producer Richard Jameson (Strait to the Plate season 2) and producer Veronica Fury (And We Danced) also attached. It is financed in association with Screen Queensland.
- One Mind, One Heart: In this feature-length documentary for NITV, a historic political Yirrkala bark petition is discovered and makes its way home to Yolgnu country, evoking the spirit of decades of activism for change. The repatriation provides the opportunity to track the long political campaign – through petition, song, dance, campaigning – to keep culture strong and to have a voice for country. One Mind, One Heart is from writer/director Larissa Behrendt (The First Inventors) and producer Michaela Perske (Larapinta). It is financed in association with Screen NSW, with support from the Adelaide Film Festival Investment Fund, Spectrum Entertainment, Documentary Australia and Philanthropy via the Shark Island Institute.
Also announced today are three television dramas, 11 feature films and two documentaries that will share in over $540,000 of development funding. The projects include feature film Native Gods from 2024 Enterprise Business recipient Djali House; comedy series Long Story Short from writer/director Tanith Glynn-Maloney (Windcatcher); documentary Fire Country, a transformative exploration of Indigenous fire knowledge and wisdom; and feature film RED, about eight Western Australian First Nations women who share the ugly secret of being surrounded by the missing.
Click here for the full list of projects funded for Production and Development by the First Nations Department throughout the 2023/24 financial year.
Fox Hunt selected for Dynamic Television Scripted Initiative
Fox Hunt writer/producer Nicole Delprado and producer Kate Separovich
Screen Australia and Dynamic TV are excited to announce that Pike Salto and Lake Martin Films’ Fox Hunt, created by writer/producer Nicole Delprado and producer Kate Separovich has been selected for the Dynamic Television Scripted Initiative.
This thrilling crime mystery series will receive $100,000 in development funding ($50,000 from Screen Australia and $50,000 from Dynamic Television) to help bring its captivating story to life.
Fox Hunt follows the enigmatic investigator Mackenzie Fox, who resurfaces after a five-year absence, determined to solve any case that comes her way. With a secretive past and city full of adversaries hungry for revenge, Mackenzie navigates the line between hunter and hunted. This eight-part series promises a unique blend of suspense, drama – featuring a female lead who defies conventional characters in the genre.
Louise Gough, Screen Australia’s Director of Narrative Content said, “Fox Hunt is a standout project that brings fresh perspective to the thriller genre. Nicole Delprado’s unique vision, combined with the dynamic character of Mackenzie Fox, offers audiences a compelling narrative infused with wit and intensity. We and the team at Dynamic Television are proud to support such innovative storytelling that highlights Australia’s creative talent on the international stage.”
Carrie Stein, Dynamic’s President Global Scripted Television said, “Fox Hunt is exactly what we were looking for from our initiative with Screen Australia and we can’t wait to begin further development of the series with Nicole and Kate. The pilot script instantly grabbed our attention because of its undeniable central character who’s mysterious, flawed, brash and has a fantastic and surprising back story that comes to light slowly and suspensefully in service of the present-day season-long mystery.”
The Dynamic Television Scripted Initiative, a collaboration between Screen Australia and Los Angeles-based Dynamic Television, aims to support distinctive scripted television projects that show potential for global success.
Screen Australia Welcomes Two New Investment Managers
Marigold Bartlett and Joanna Beveridge
Screen Australia is excited to announce the appointment of Joanna Beveridge as Investment and Development Manager in the Online Department, and Marigold Bartlett as Investment Manager in the Games team. Both will report to Head of Online and Games, Lee Naimo.
Joanna Beveridge is a producer, writer and director based in Western Sydney. She has a double degree in Nuclear Medicine and Digital Media, and has worked as a creative producer/digital editor for companies such as Network Ten, NBCUniversal, Warner Bros. Discovery and ITV Studios. Jo was selected for Screen NSW’s Emerging Producer Placement which saw her completing a producer attachment with Matchbox Pictures and she was a Screen Producers Australia ‘Ones to Watch’. She’s produced a number of titles including two romcom digital series – No Ordinary Love and Shippers.
Marigold Bartlett, known as Goldie, brings extensive experience in digital art, marketing, community development and business development. With a strong background in videogames, Goldie has worked as an artist and narrative consultant with games such as Florence and Untitled Goose Game, and was visual art lead of the Freeplay Independent Games Festival 2013-2020. Her most recent role was as art director, marketing lead and business developer for acclaimed game Wayward Strand. She is passionate about supporting emerging developers to find their voice and develop their skills.
Screen Australia, ABC and NITV announce proper love up short film initiative
Screen Australia’s First Nations Department, the Australian
Broadcasting Corporation (ABC) and National Indigenous Television (NITV) are calling for
applications from mid-career First Nations producers to apply with an emerging writer and director
team for Proper Loved Up, a new romantic comedy short film initiative.In partnership with Screenwest, Screen Territory, Screen Queensland, Screen Tasmania, VicScreen,
the South Australian Film Corporation, Screen NSW and Screen Canberra, this initiative will support
up to eight First Nations teams, helping them bring fresh, exciting Indigenous stories to the screen.
It will also focus on building producers’ business skills to develop projects for both local and global
markets.Head of First Nations at Screen Australia, Angela Bates said, “We have a proud history of
supporting Indigenous creatives to tell powerful and authentic stories that inspire and travel the
world. This program expands on the legacy of my predecessors and their work in creating the
Indigenous Producers program. It is designed to empower First Nations producers by providing them
with a practical and holistic experience of producing a short film, in addition to offering individual
seed funding to expand their project slate for local and international markets. It’s bold and
ambitious, and we are thrilled to partner with the ABC, NITV and the state and territory agencies to
bring this to life.”“We need to nurture and develop more First Nations producers. This is vitally important for cultural
safety and the creation of Intellectual Property in the evolving screen landscape. Our writers and
directors are in high demand with Indigenous content proving not just its cultural value but
commercial value. Developing our talent pool of experienced producers will enhance our
storytelling and broaden the reach of our creative voices.”“We’ve had genre themed initiatives previously like Shock Treatment, which have been very
successful, so I’m excited to see what stories our mob will tell in the rom com genre space.”
To be eligible, stories must be conceived by an Indigenous creative with the key roles of writer,
director and producer held by Indigenous Australians. No experience in screenwriting is required,
but applicants must demonstrate an interest in pursuing a career in this field. Stories that include
the use of First Nations languages are encouraged.ABC Head of Indigenous, Kelrick Martin said, “ABC Indigenous is a proud participant of Proper
Loved Up, having partnered with Screen Australia’s First Nations department to support career
pathways and creative opportunities for Indigenous screen practitioners for many years. It’s a
commitment that is fundamental to the work we do every day. We love that this initiative is
focussed on the joyous, socially awkward fun of the rom-com genre, and can’t wait to see what
these new producers and creative voices will deliver!”Head of Indigenous Commissioning and Production at NITV, Dena Curtis said, “NITV is proud to
support the Proper Loved Up initiative, a new look short film program that provides a holistic
approach to developing Indigenous producers, writers, and directors. It is vital that we help foster
talent within the industry and we are excited to continue to support emerging Aboriginal and Torres
Strait Islander creatives. We can’t wait showcase short romantic comedy dramas that celebrate
stories about black joy and black love.”
Proper Loved Up - Sector development - First Nations - Funding and Support - Screen Australia.
Screen Australia announces new Research Program: Drama Report 2023/24 reveals $1.7 billion spent on drama production in Australia
Screen Australia has announced an expanded research program to empower the local screen industry and related partners. In addition to publishing drama and documentary trends, a new Screen Currency report will provide insights into the economic and cultural value of Australian screen and games production. A suite of audience research projects, the Viewfinder series, will also deepen our understanding of audience behaviour and attitudes, supporting the industry to respond to the evolving media landscape.
As a first component of this program, a new-look interactive version of the Screen Australia Drama Report was released today. The data shows a total of $1.7 billion spent on drama production in Australia, with $929 million dedicated to Australian stories. This marks a 29% total decline compared to last year, primarily due to a reduction in high-budget production activity across international TV and Australian theatrical features.
Global economic conditions continue to impact screen production, with disruption across distribution platforms, business models and audience shifts influencing the market. The past year also saw US industrial action and uncertainty around changes to the Location Offset incentive, which may have led to international projects being impacted during 2023/24.
Screen Australia CEO Deirdre Brennan says “Expenditure of $1.7 billion on 169 Australian and international drama productions represents a solid result after a three-year peak driven by Australia’s status as a COVID-safe filming destination, streaming growth and a number of high-budget theatrical features.”
“The Drama Report is one of many resources providing insights into the opportunities and challenges facing the Australian screen sector. This year’s results confirm key trends in domestic activity, a contraction of free-to-air commercial TV drama and the increasing role of SVOD commissioning. Children’s content continues to face significant pressure and remains reliant on government support, so we’re working to broaden the opportunities for development of Australian kids IP. We will also explore the needs of feature filmmakers working in the $1-5 million budget range, dominant again in this year’s data.”
“We understand how competitive funding is, with Screen Australia supporting 27% of the direct funding applications received for scripted content in 2023/24. In an environment where international financing is also increasingly harder to source, we need to pull together as an industry to ensure the sustainability of the sector. Despite these challenges, we’re optimistic about the future and confident that there will be an uplift in production in the year ahead. Screen Australia will continue to collaborate with industry to identify growth opportunities and ensure Australian screen stories thrive.”
This year, the Drama Report is presented via an interactive Power BI dashboard, with a user guide available here.
2023/24 Drama Report Key Findings
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$1.7 billion spent on 169 productions, 55% coming from Australian titles, primarily general TV/VOD drama.
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$929 million was spent on Australian titles, down 18% on last year, due to fewer high-budget Australian theatrical features, such as Mortal Kombat in 2022/23, Furiosa in 2021/22 and Elvis in 2020/21.
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36 Australian theatrical features commenced production, with a total spend of $214 million. While the number of titles increased by two, there was a 42% decrease in spend from the previous year. Features in the $1-5 million budget range dominated.
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$657 million was spent on 55 Australian general TV/VOD drama titles, consistent with the previous year. This includes:
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Subscription TV/ SVOD – $467 million spent on 27 titles, marking a 17% increase in spend and a 29% increase in the number of titles.
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FTA TV/BVOD titles – spend was down 32% at $188 million, across 15 titles.
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Children’s content continues to be under significant pressure, with eight titles entering production, down from 12 last year. Expenditure in this category dropped 29%, with the number of hours of children’s content decreasing by 42%.
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Producer Offset financing contributed $245 million of investment across all drama production in 2023/24.
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The Producer Offset accounted for 34% ($75 million) of financing for Australian theatrical features, while international investment in Australian features was at its lowest point since 2014/15.
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Investment from Australian broadcasters, VOD platforms and distributors increased by 36% on last year. This accounts for a third of TV/VOD finance in 2023/24 — showing a stronger local contribution to production costs.
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Australian independent and global streaming platforms contributed the largest share of investment (65%) in TV/VOD drama across 26 titles. Its investment value and number of titles both increased this year.
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The proportion of spend for states and territories was 47% in New South Wales, 19% in Victoria, 18% in Queensland, 5% in South Australia, 5% in Western Australia and 6% in the combined states and territories – Australian Capital Territory, Northern Territory and Tasmania.
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Expenditure by location is cyclical in nature. We saw notable growth, particularly in:
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Western Australia, where spend surged to $77 million — more than three times last year’s figure.
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A record combined spend of $105 million in Northern Territory, Tasmania and the Australian Capital Territory, mostly driven by production activity in the Northern Territory and Tasmania.
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$768 million of total expenditure in Australia came from 70 international productions, a 39% decrease from last year. This was driven by less international TV/VOD production.
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PDV expenditure on both Australian and international titles totalled $589 million, down 17% from last year’s record high but still 15% above the five-year average.
Response from Screen Producers Australia on the 2023/24 Drama Report
Screen Australia announces $2.3 million for documentaries, supporting a new wave of world-class Australian projects
Crowded House
Screen Australia has announced support for eight documentaries that will share in $2.3 million of direct production funding. These projects reflect the incredible tenacity of local documentary makers to uncover stories in Australia and around the globe, from Western Sydney to Ecuador. The documentaries deep-dive into a wide array of topics, from the defining issues of our time to celebrating cultural icons and shining a light on marginalised or misunderstood communities.
Among the projects are Robodebt (working title), a three-part series for SBS that combines documentary storytelling with drama to reveal how ordinary Australians fought back against the notorious Robodebt scandal; Crowded House, which unravels the psychological complexities the iconic band faced in their extraordinary journey; End Game, following Tony Armstrong on a mission to tackle racism in Australian sports; and RISE, from writer/director Patrick Abboud, about participants preparing to compete on Western Sydney’s spectacular LGBTQIA+ ballroom scene.
Screen Australia Head of Documentary Richard Huddleston said, “These stories, spanning numerous genres and disciplines, are a reflection of the ambition, sophistication and creativity of the current Australian documentary sector. These projects will grow Australia’s reputation for innovative, premium storytelling and point to an exciting future of global partnerships.”
Projects supported:
- Crowded House: A feature-length documentary that dives deep into the Crowded House journey, unravelling the psychological complexities they faced in the wake of their meteoric rise, and spotlighting the evolution of the current line-up that includes Neil’s two sons, Liam and Elroy Finn. Woven from a treasure-trove of never-before-seen family and band archive, candid interviews, and more, the narrative moves between the past, present and a dream-like place of investigation and analysis that has the genius of Neil Finn’s song writing at its core. Crowded House is a co-production between Ghost Pictures (Mystify: Michael Hutchence, Autoluminescent, In Bob We Trust) and Academy Award-nominated producer, Carthew Neal (Jojo Rabbit, Tickled) and his production company Fumes. Financed by the New Zealand Film Commission in association with the ABC and VicScreen. Produced with the support of Primary Wave and Nude Run. An Australian-New Zealand Co-production. Australia and New Zealand territories distributed by Madman.
- RISE: With exclusive access into Western Sydney’s underground LGBTQIA+ ballroom scene, the documentary RISE follows participants as they prepare to compete at the iconic West Ball. In a world seeking to erase them, RISE will portray which of these queer rebels will finally have their moment on the cutthroat stage and transform their life. It is written and directed by Patrick (Pat) Abboud (Australia Uncovered: Kids Raising Kids), with Monique Keller and Billy Russell (The Role of a Lifetime) executive producing, and West Ball community leaders, Xander Khoury and Jamaica Moana co-executive producing.
- Death of a Shaman: In the depths of the Ecuadorian Amazon, a renowned Shuar shaman selects his reluctant grandson as his apprentice in an attempt to preserve their tribe’s ancestral wisdom for another generation. Meanwhile, the shaman’s son leads an Indigenous uprising that seeks to overthrow the Ecuadorian president. What transpires next will foreshadow either the preservation or destruction of a people. The feature-length documentary Death of a Shaman is from writer/director/producer Dan Jackson (In the Shadow of the Hill) and executive producers Robert Fernandez (The Fog of War) and Dan Levinson. It is financed in association with Soundfirm, with Umbrella Entertainment distributing locally.
- Silenced: A feature film from Stranger Than Fiction that follows internationally renowned human rights lawyer Jennifer Robinson as she goes inside courtrooms and behind the headlines, to reveal the tricks and tropes used to silence women all over the world. Silenced is from writer/director Selina Miles and producer Blayke Hoffman, whose credits include the acclaimed Harley & Katya. Jennifer Peedom (Sherpa, Mountain) is executive producing. It is financed in association with Minderoo Pictures and the ABC, with support from Screen NSW, the Shark Island Foundation and Soundfirm. Local distribution by Sharmill Films and international sales by Together Films.
- Troublemaker: This feature film follows massacre survivor Wendy Scurr and South Australian writer/director Jared Nicholson (Starting from Scratch), as they slip down the rabbit hole of paranoia in a desperate search for solace and truth. Directing alongside Nicholson is Ben Lawrence, with Rebecca Barry, Scott Baskett, Madeleine Hetherton-Miau and Chris Kamen producing and Deanne Weir executive producing. It is financed in association with the Shark Island Foundation, with support from the Adelaide Film Festival Investment Fund, the South Australian Film Corporation, Screen NSW and WeirAnderson Films. Post, digital and visual effects are supported by the South Australian Film Corporation.
- Digby & Camille: This feature film is an eight-year love story about Sydney artist and the documentary’s co-director Digby Webster and his girlfriend, trainee chef Camille Collins, who both live with Down Syndrome. Looking to take the next step in their relationship, the couple fervently wish to live together and marry. But complicating their dream of wedded bliss are the very real concerns and questions from those who love and support them most, their parents. Directing alongside Digby is Trevor Graham (Chef Antonio’s Recipes for Revolution), who is also producing with Lisa Wang (White Fever). It is written by Rose Hesp (Who Do You Think You Are?), with Mitzi Goldman (Knowing the Score), Roger Savage and Jenny Lalor executive producing. It is financed in association with the Melbourne International Film Festival (MIFF) Premiere Fund, with support from Screen NSW, the Shark Island Foundation, Soundfirm, the Andy Inc Foundation and Philanthropy via Documentary Australia. Local distribution by Bonsai Films.
- Robodebt (working title): A three-part series for SBS that combines documentary storytelling with drama to reveal how ordinary Australians fought back against the notorious Robodebt scandal that struck at the heart of inequality and social cohesion in Australia. It is from director Ben Lawrence (Hearts and Bones) and writer Jane Allen (Troppo, In Our Blood). Executive producing is Paula Bycroft (Con Girl), Michael Cordell (Go Back to Where You Came From) and Andrew Farrell (Murder in the Outback, Undercurrent). It has received major production investment from SBS with support from Screen NSW.
- End Game: This three-part series for the ABC follows Tony Armstrong on a global mission to find solutions to combat the rising tide of racism in Australian sports to create real change for future generations — unpicking his own experiences on a personal journey of discovery, surprise, passion and understanding. End Game is executive produced by Daniel Brown (The Hospital: In the Deep End), Steve Bibb (Matildas: The World at Our Feet) and Dean Gibson (First Weapons). It has received major production investment from the ABC, with support from Screenwest and Lotterywest. International sales by ABC Commercial.
Documentaries also announced and recently supported by Screen Australia include Stan Originals Death Cap, Into the Night and Zyzz & Chestbrah: The Poster Boys, as well as ABC’s Ages of Ice, and feature film The Golden Spurtle.
The full list of documentary blocklines is available here. The latest projects funded for documentary development are available here. For more information about Documentary funding at Screen Australia and to apply, click here.
NEW COMEDY WEB SERIES WRAPS PRODUCTION IN QLD
NOT RUSSIAN ANYWHERE
Brisbane: Production has wrapped on Annisa Belonogoff’s Not Russian Anywhere, a new comedy narrative series for Instagram, funded by Screen Australia in association with Screen Queensland.
Natalya’s uterus is trying to kill her, she’s back in her dusty rural hometown, crashing with her eccentric Russian family, dodging their relentless questions, and pretending she’s totally fine. But between the wildlife, the unsolicited life advice, and the creeping realisation that she might actually be stuck here… one thing’s for sure—she’s Not Russian Anywhere.
Created, written and produced by Showrunner Annisa Belonogoff, the series is directed by Aimée-Lee Xu Hsien, written by Belonogoff, Xu Hsien and Nicole Scharf, and produced by Belonogoff, Scharf & Lucinda Bruce.
Not Russian Anywhere explores the cultural chasm felt by many Australians of multicultural backgrounds who sit between two worlds.
Showrunner Annisa Belonogoff explains “I’ve spent my life being told two things: One, my chronic pain was ‘just in my head.’ And two, my Russian family had to be the villains. Turns out, both were total nonsense. After 17 years of misdiagnosis, I finally learned my body wasn’t just ‘sensitive’—it was waging a full-scale war thanks to Endometriosis and Adenomyosis. And as for my family? The most loving people I know, but the closest thing I ever had to a terrifying Russian mobster was my dad stepping on Lego barefoot. And trust me, that was scary enough.”
“This series isn’t just about one woman trying (and failing) to outrun her past—it’s about generations of women navigating what it means to be family. From my Bubba’s old-world wisdom to my mother’s battle to balance tradition with modern life, to me just trying to get through the day without someone diagnosing me with ‘not enough babies’ syndrome, it’s a clash of ideals, expectations, and survival tactics. Somehow, we’ve merged Russian resilience with Aussie chaos, like nesting dolls in Akubra hats, passing down stories, advice, and just a little bit of vodka. So why hasn’t anyone put this madness on screen before? My Bubba has a simple answer: ‘Because they weren’t Russian.’”
Not Russian Anywhere draws upon the painfully entertaining quirks of growing up between two cultures, which resonated for Writer / Director Aimée-Lee Xu Hsien.
“Annisa and I instantly bonded over our shared experience growing up and struggling to live up to the expectations and identity of two cultures. For her it was Russian/Australian and for me it was Chinese/Australian. When you’re constantly being quizzed on where you ‘really’ come from, it leads to an identity crisis we both chose to funnel into comedy.”
Screen Queensland’s Chief Creative Officer Dr Belinda Burns said that Screen Queensland is proud to support Annisa Belonogoff’s Not Russian Anywhere through the agency’s Channel Lab: Short Cuts initiative.
“Screen Queensland is dedicated to amplifying and scaling Queensland’s digital-first screen storytellers with content that is exciting, fresh and original… We are excited by the talent emerging from Queensland and we are committed to championing these online creators to reach global audiences.”
Not Russian Anywhere stars Annisa Belonogoff as Natalya, joined by an ensemble of talented actors including Reagan Mannix (Black Snow, Boy Swallows Universe, The Narrow Road to the Deep North), Felicity Jurd (Bump, Deadly Woman), Mirko Gillini (Paper Dolls, In Our Blood, Joe Vs Carole) and newcomers, Inga Romantsova and Bronte Bailey.
Not Russian Anywhere is an 8 x 3 minute web series, filmed in Brisbane, QLD.
Production credit: Not Russian Anywhere is an Anakie Street Production for Instagram. Principal production funding from Screen Australia in association with Screen Queensland.
ABOUT NOT RUSSIAN ANYWHERE:
Natalya Ivanov (Ivanova – femme) always considered herself a normal Australian. Or at least, she tried to. But wherever she turned, there was one inescapable problem: her family. They’re Russian. Passionately Russian. And now, her body has joined the list of things making her life difficult.
After an altercation with her fiancé, Natalya has no choice but to head home to the outback—and her immigrant family. The dirt, dust, and native wildlife have never been her thing, but neither has dealing with chronic pain, exhaustion, and a uterus that seems hell-bent on ruining her life. Naturally, her family is suspicious. And when a Russian family is suspicious, they investigate.
To keep her secrets from a house full of wannabe spies, Natalya will have to outmanoeuvre their schemes while navigating a body that refuses to cooperate. She’ll have to survive unsolicited health advice, misguided old-world remedies, and her family’s relentless belief that vodka fixes everything. And if she’s going to make it through this, she may just have to learn to love them for the chaotic, over-the-top force they are—because, as her father always says:
‘Семья сама важная, остольное нечто.’ ‘Family is the most important, everything else is nothing.’
A sentiment that’s about to test her in more ways than one. One thing is for sure: right now, she’s Not Russian Anywhere.
Instagram : @notrussiananywhere
Industry Survey 2025
A Message from Screen Australia CEO Deirdre Brennan
‘Hopeful’. When asked in our recent sector survey what word most describes how you feel about the local screen industry, this was the number one response.
The second? ‘Concerned’. In these contrasting words, you’ve captured the spirit of a creative industry navigating unprecedented change, but also reflecting a resilience that looks well beyond the short-term challenges.
The extensive results have given us an invaluable baseline for our performance and will feed into a new Screen Australia strategy to support the industry as we move towards this future together. Over the last year, I’ve been listening to your thoughts and ideas. We are evolving as a result. There’ll be more to come in the months ahead about how we build on the ‘hopeful’ expectation.
For now, a sincere thank you to all who participated and the industry partners who helped us reach so many of you.
Further insights are available here.
Screen Australia is thrilled to announce the appointment of Michele McDonald to the newly created role of POCU Advisor (Producer Offset and Co-production), starting 17 March 2025. The Producer Offset continues to be a cornerstone of the Australian screen industry, and Co-productions are becoming more important than ever for the future success of the sector. Here she shares her insights into the Producer Offset and Co-production programs and plans for the new role.