Screen Australia

TV.Cynic · April 30, 2025, 10:11pm

Screen Australia empowers 100+ distinctive Australian narratives

All The Boys Are Here writer/director Goran Stolevski and It’s All Going Very Well No Problems At All writer/director/producer/star Tilda Cobham-Hervey (Tilda photo credit Matt Loxton).

Screen Australia has today announced a significant investment for local scripted projects, reflecting the agency’s commitment to rich Australian narrative content and meaningful creator pathways.

Across feature film, television and online, $7.6 million has been shared across more than 100 projects, contributing a substantial amount to the overall direct production and development funding provided in the 24/25 financial year so far. The mix of projects showcases a wide range of themes and formats, speaking to the evolving scripted landscape and highlighting the importance of reaching Australian audiences where they are watching.

Among the projects is the debut feature film from writer/director/producer/star Tilda Cobham-Hervey set in an aged care home, It’s All Going Very Well No Problems At All; animated children’s series Jidoo & Ibis, about the relationship between a grumpy Grandpa and Australia’s beloved bin chicken; comedy series for TikTok CEEBS about two friends on a mission to save their local youth centre from imminent closure; and a series inspired by a true story, DIVA, about 21-year-old Elly who balances his strict, religious Samoan life with ambitions of becoming a professional wrestler in drag.

Screen Australia Director of Narrative Content Louise Gough said, “Screen Australia is uniquely positioned to support a thriving pipeline of Australian stories that connect with audiences across multiple platforms and genres. This funding reflects our commitment to both emerging and established creatives, reinforcing the strength and diversity of our industry.”

“Demand on Screen Australia funding remains high, and our recent survey was a reminder of the value that the sector places on our direct funding. In an ever-changing landscape, one thing remains constant – Australian screen storytelling is a vital cultural force that continues to resonate with audiences here at home and across the world. We’re proud to back this extensive collection of distinct and ambitious projects,” said Gough.

Screen Australia has also supported 11 major television series for production to be announced in coming months, sharing in $12 million of direct funding and with a total production value of over $117 million. The agency has recently supported Stan Original Series’ He Had it Coming and comedy-horror Gnomes. Also recently announced is Bus Stop Films’ first feature film Boss Cat, beginning production in June and starring Olivia Hargroder, Penny Downie and Julia Savage.

The supported projects include:

It’s All Going Very Well No Problems At All: This drama is the debut feature film from writer/director Tilda Cobham-Hervey (A Field Guide to Being a 12 Year Old Girl, I am Woman) and is produced by Liam Heyen (Jimpa, Latecomers), Dev Patel (Lion, Monkey Man), Jomon Thomas (Hotel Mumbai, Monkey Man) and Cobham-Hervey, with Natalya Pavchinskaya and Cyna Strachan executive producing. The film follows Audrey (Cobham-Hervey), a young artist teetering on the edge of a quiet collapse, who finds solace and understanding through a profound connection with Harold, an elderly resident at the care home where she works. Major production investment from Screen Australia and S’ya Concept in association with the South Australian Film Corporation, with support from the Adelaide Film Festival Investment Fund. Local distribution by Kismet. The film is a Mad Ones and Minor Realm production.
Jidoo & Ibis: Inspired by the real-life shenanigans between the creator’s father and the hungry bin chickens who flock to his garden, Jidoo & Ibis is from writer/producer Wendy Hanna (Beep & Mort) with writers Michael Drake (Beep & Mort) and Clare Madsen (Little J & Big Cuz). It is a 40-part animated series in development for young pre-schoolers about unexpected problems and unexpected friendships – told through the relationship between grumpy Grandpa Jidoo and an all too familiar larrikin, Ibis.
CEEBS: This 18-part comedy for TikTok is from director Harry Lloyd (Rock Island Mysteries) and writers Betiel Beyin and Leigh Lule, some of the team behind Turn up the Volume. Nikki Tran (Girl, Interpreted) and Amie Batalibasi (Blackbird) are producing. CEEBS follows recent high-school graduates, Zion and Ruby, as they run for ‘Youth President’ to save their local youth centre from imminent closure – all while trying to ensure their lifelong friendship doesn’t get caught in the crossfire. It has received principal production funding from Screen Australia in association with VicScreen.
DIVA: Inspired by a true story, DIVA is created by producer Jessica Magro (Bad Ancestors) and executive producer Jason Dewhurst, working alongside producer Lauren Brown (Thou Shalt Not Steal) and writer Nick Coyle (Bump, It’s Fine, I’m Fine). It is also executive produced by Charlie Aspinwall and Daley Pearson. This eight-part series in development from Ludo Studio and Purple Carrot Entertainment follows 21-year-old Elly as he attempts to balance his strict, religious Samoan life and his secret queer identity as a professional wrestler in drag.
Dreamboat: A feature comedy in development celebrating the enduring power of BFFs, second chances, and embracing life’s next chapter, from writer Joan Sauers (Ladies in Black, Wakefield), producers Courtney Botfield and Kate Riedl, script editor Megan Simpson Huberman and script consultant Zoë Coombs Marr. In Dreamboat, Suzy’s plans for a cruisy retirement are capsized when best friend, Val, takes her on a cruise to Antarctica.
All The Boys Are Here: From Causeway Films (Talk to Me), this queer romance feature film is created by writer/director Goran Stolevski (Of An Age, You Won’t Be Alone) and produced by Kristina Ceyton and Samantha Jennings of Talk to Me. It is about a New York novelist who, while attending a family funeral in Vienna, discovers a German relative’s illicit queer love affair with a Jewish man during WW2 – sending him on a journey through the past that changes his future. It has received major production investment from Screen Australia in association with the Polish Film Institute, with Maslow Entertainment distributing and New Europe Film Sales and Charades managing international sales.
A Model Family: A 10-part comedy in development for the whole family from some of the team behind The Disposables, including creator/writers Keir Wilkins and Sonia Whiteman, creator/writer/producer Renny Wijeyamohan, creator/producer/executive producer Karen Radzyner, producer Linda Micsko (The Office Australia) and executive producer Oliver Lawrance, with Guy Edmonds (Spooky Files) and Emmanuelle Mattana (Fwends) attached as writers. In A Model Family, five ultra-lifelike AIs have escaped from a secret research facility in the Australian countryside and must pass for a human ‘nuclear’ family to survive.
Fear is the Rider: This horror-thriller is from the team behind The Forgiven, including writer/director/producer John Michael McDonagh, producers Elizabeth Eves, Kate Glover, Nick Gordon and Trevor Matthews, and executive producer Natalie Coleman. In Fear is the Rider, a lone woman searching for her missing mother is pursued into the Australian Outback by a terrifying family of cannibalistic serial killers, with only an ex-con and a young girl willing to help her. Major production investment from Screen Australia and financed with support from Screen NSW’s Made in NSW Fund. Local distribution by Umbrella Entertainment, with international sales by Film Constellation and CAA.
After All: From writer/director/producer Jess Murray (Moments of Clarity) and writers Tom Ward and Declan O’Byrne-Inglis, After All is a six-part comedic adult YouTube animation set against a post-apocalyptic wasteland. After living in a bunker for most of their lives, mutant filmmakers Flynn and Marshall venture out to make “the best movie ever made”, but quickly realise that stardom is not as important as friendship. It has received principal production funding from Screen Australia and financed with assistance from Screen Tasmania.
Bluebottle: A thriller-comedy feature film from director Jim Weir and writer/director Jack Clark of Birdeater, producers Gal Greenspan (Moja Vesna), Rachel Forbes (Strange Creatures) and Ryan Bartecki (The Novice), and executive producers Joel Edgerton (Boy Swallows Universe), Ari Harrison (Lesbian Space Princess, The Moogai) and Jane Badler. During the final night of ‘Schoolies’ in an isolated coastal town, three local dropouts battle three handsome older men for the affection of three private school girls – tackling social issues of class, consent and identity. Major production investment from Screen Australia, with Co Created Media co-financing and Umbrella Entertainment distributing locally.

CEEBS

TV.Cynic · May 7, 2025, 12:57am

Programs to meet sector needs

Screen Australia has today announced its Documentary Funding Programs and guidelines are evolving to better align with industry needs and support screen practitioners.

Taking effect from 1 July 2025, the updates were announced by Screen Australia Chair Michael Ebeid, forming a key part of the agency’s new strategic direction.

Shaped using industry and market insights, the improvements respond to significant disruptions in the documentary sector and global screen industry, characterised by changing methods of production, financing, distribution and consumption. The new programs closely align with today’s content landscape, simplify applications and ensure all documentary projects are assessed in an equitable, competitive manner.

Screen Australia Head of Documentary Richard Huddleston said, “As the documentary landscape shifts, it’s critical that our funding programs are future-focused. When the existing programs were established, audience pathways, commissioning and distribution models were simpler. Today, with rapid shifts in distribution platforms, business models, and changes to audience behaviour, the marketplace is more complex.

“The revised funding programs are designed to ensure our funding models best support a documentary sector that is both innovative and resilient.”

Key Updates

The two existing production funding programs, the Commissioned Program and Producer Program, will close at the end of this financial year. From 1 July 2025, four funding programs will open:

Documentary: Producer First – Features, series or singles that have no confirmed market interest but have a distinctive, compelling story with a well-defined pathway to market and audiences.

Documentary: Platform First – Features, series or singles that have confirmed market interest through a Memorandum of Understanding (MOU) that includes a first-window request and a commitment to the Screen Australia Minimum Licence Fee.

Documentary: Direct-to-Audience – Online (e.g. YouTube or other platforms, AR, MR and VR) short- and long-form projects with or without market interest will be eligible to apply.

Documentary: Development – Funding up to $30,000 (including time-critical filming and online projects) will be available.

The Producer First, Platform First and Direct-to-Audience programs will be assessed four times a year. Development will continue as an open and rolling deadline open for all practitioners.

JohnsonTV · May 7, 2025, 11:25am

The agency will also discontinue its Premium and Generate development funding streams in favour of a single portal for all development applications.

The changes, which will take effect on July 1, are part of a new strategic framework that chair Michael Ebeid unveiled on the first day of Screen Forever on the Gold Coast (on Tuesday).

JohnsonTV · May 9, 2025, 1:09pm

Screen Australia appoints Drew Grove as Head of Production

Screen Australia is pleased to announce the appointment of Drew Grove as Head of Production. An accomplished screen industry leader and producer, Grove brings extensive experience in shaping creative strategy and delivering high-quality productions across both domestic and international markets.

Grove most recently served as CEO of Every Cloud Productions, where he was instrumental in developing and producing acclaimed content. His recent credits include serving as Executive Producer and Producer on the award-winning Stan Original family film Windcatcher, a co-production between Every Cloud Productions and Unless Pictures.

In his new role at Screen Australia, Grove will oversee the agency’s production investment across feature films, television, and online content, working closely with creatives and industry partners to support innovative projects that resonate with audiences both locally and globally.

Drew Grove said: “I’m incredibly excited to step into the role of Head of Production at Screen Australia at this pivotal time for the industry. I look forward to collaborating closely with Australia’s talented creatives and industry partners to support bold, distinctive projects that find audiences at home and on the global stage.”

Screen Australia’s Director of Narrative Content, Louise Gough said: “Drew brings a wealth of experience and a deep understanding of the screen landscape to Screen Australia. His track record of delivering high-quality productions and fostering creative talent makes him an invaluable addition to our team. We look forward to the insights and leadership he will bring to our production investment.”

Drew will commence his role at Screen Australia on Monday 12 May 2025 and will be based in the Melbourne office.

JohnsonTV · May 15, 2025, 10:55pm

Proper Loved Up Stage One Recipients Announced

Screen Australia’s First Nations Department, the Australian Broadcasting Corporation (ABC) and National Indigenous Television (NITV) have announced the recipients selected for Stage One of Proper Loved Up – a new romantic comedy initiative for mid-career First Nations producers collaborating with emerging writer/director teams.

The selected teams recently took part in a three-day intensive workshop in Sydney, the first step in a broader development program featuring masterclasses and mentorship to help shape bold, funny and heartfelt First Nations love stories for the screen.

The Stage One recipients and their projects are:

Shakara Walley, Calen Tassone, Jamahl Ryder and Gary Hamaguchi – Office Party: A First Nations office worker struggles to connect with his crush amidst the mundane chaos of office life, culminating in a heartwarming Office Party mishap.

Cian McCue and Aaliyah-Jade Bradbury – Homecoming: When a famous Aboriginal musician takes refuge in a family-owned Darwin diner, a late-night encounter with a quick-witted cook sparks unexpected chemistry, messy burgers and one unforgettable night.

Jerome Smith and David Cook – I Dare (Love) You: Long-time friends David and Jennifer are forced to confront their true feelings when a daring challenge pushes them beyond friendship.

Brooke Collard and Rhianna Malezer – Crushed!: Crushed by her crush, Jo finds herself magically stuck inside a pinball machine at a queer bar, with only her bestie Tay to get her out. But a messy love triangle lands Tay crushed inside the machine beside her.

Travis Akbar and Natasha Wanganeen – Love.exe: In a future society where physical relationships are obsolete, a lonely man agrees to meet his online partner in real life, forcing them both to confront what it truly means to connect.

Siena Mayutu Wurmarri Stubbs and Libby Collins – Best on Ground: 17-year-old Räkay is a young, tough and driven girl, with the pressure of cultural boundaries holding her back. But 18-year-old care-free boy Wämut, who Räkay met at footy training, is determined to break through her guard to score her heart.

Jack Steele and Nicole Hutton-Lewis – Egg Head and the Paper Girl: On an isolated farm, Jessie slips into vintage musical daydreams to escape her daily routine – but when Hattie, the pregnant postie from the feuding Turner family shows up, a secret spark ignites.

Talia Liddle and Travis Cloudy-Hensgen – Only Two Luvaz: Out of touch, dressed in pink and back for the summer, Rose throws herself into bush life, but her nanas have other plans.

Hannah French and James McLaren – Stuffed: When an elderly widower arrives with a mysterious rolled-up rug, a taxidermy artist is presented with an unusual request that will test the limits of romantic gestures.

Devina McPherson and Kimberley Benjamin – G.O.A.T: When Lilah meets the new environmental scientist in town, Rosie, she falls hard for her. But since Lilah isn’t sure Rosie is even queer, she’ll have to do some serious sleuthing to find out.

Delivered in partnership with Screenwest, Screen Territory, Screen Queensland, Screen Tasmania, VicScreen, the South Australian Film Corporation, Screen NSW and Screen Canberra, Proper Loved Up empowers First Nations creatives to tell fresh authentic, and globally resonant stories with heart and humour.

Participants will now work towards delivering a third draft script, with the opportunity to apply for up to $80,000 in production funding to bring their short films to life.

Find out more about the initiative here.

JohnsonTV · June 28, 2025, 6:56am

How to Kill a Client selected for Dynamic Television Scripted Initiative

Top (L-R) Rob Gibson, Catherine Millar. Bottom (L-R) Sarah Dollard, Ian Collie.

Screen Australia and Dynamic TV are thrilled to announce How to Kill a Client, a dark comedy series from Easy Tiger Productions (Colin from Accounts, The Twelve) has been selected for the Dynamic Television Scripted Initiative.

How to Kill a Client is the third project – following Fox Hunt and Dark Mode – to receive $100,000 in development funding through the initiative ($50,000 from Screen Australia and $50,000 from Dynamic Television), helping to bring its captivating story to life.

Written by Sarah Dollard (Bridgerton) and Scout Cripps (The Undertow), How to Kill a Client interweaves the murder investigation of corporate high-flyer Gavin Jones with the final six months of his tumultuous life. The series follows what happens when the partners of a highly reputable law firm become prime suspects in the murder of a client. But the investigation proves trickier than expected, as the killer has the motive, means and a broken moral compass – not to mention the smarts – to get away with it.

The series will be produced by Ian Collie (Four Years Later), Rob Gibson (Territory) and Nat Lindwall (Totally Completely Fine), with Catherine Millar (NCIS: Sydney) attached as director.

Screen Australia Director of Narrative Content Louise Gough said, “On paper, How to Kill a Client draws audiences into a compelling whodunnit structure with laughs and mysteries at every turn. We are proud to support this project and its strong creative team alongside Dynamic Television, as it showcases the breadth of talent among Australian screen partitioners.”

Carrie Stein, Dynamic’s President Global Scripted Television said, “How to Kill a Client is a razor-sharp, darkly funny series with a knockout creative team behind it. From the first read, we were drawn to its twisted take on ambition, loyalty, and the moral gray zones of the corporate world. This is exactly the kind of bold, character-driven storytelling the Scripted Initiative was designed to support, and we’re thrilled to help bring it to life for global audiences.”

The Dynamic Television Scripted Initiative, a collaboration between Screen Australia and Los Angeles-based Dynamic Television, supports distinctive scripted television projects that show potential for global success.

For more information on the Dynamic Television Scripted Initiative, please click here.

Screen Australia announces recipients for crew skills programs

The Dispatcher Access Coordinator Trainee Amy Marks. Photo credit: Ben King.

Screen Australia has announced the latest recipients to share in over $380,000 of Industry Development funding – bridging skill shortages and boosting the capabilities of the Australian screen workforce.

The Programs/projects supported through the Skills Development Fund are:

Ghost Pictures Pty Ltd – Crowded House - Private Universe Documentary: Through the production of the upcoming Crowded House documentary, Ghost Pictures will upskill emerging post-production professionals in the specialised field of archival content – building capability in this area and strengthening the Australian screen industry’s ability to preserve and showcase archival material.

Never Too Small Pty Ltd – Online Crew Pathway: Production company and YouTube channel Never Too Small, in partnership with Haven’t You Done Well Productions, will utilise this support to create a clear pathway for crew to develop real-world skills in online production, bridging the gap between traditional media and the fast-moving online content industry.

Paradise Productions No.1 Pty Ltd – Return to Paradise Series 2: For the second season of BBC Studios’ Return to Paradise, Paradise Productions have built a Development Plan to grow and support specialised training in three key shortage areas: script supervisors, post-production coordinator and assistant director.

Perpetual Entertainment Production Pty Ltd – Production Coordinator Upskilling: With this support, Perpetual Entertainment will upskill three production coordinators across NSW and WA to become production managers or a post producer.

Production Company 60Forty Films, with Werner Film Productions providing production services – The Dispatcher Access Coordinator Training: The Dispatcher will utilise this support to source, train and employ local access coordinators to; educate crew on inclusivity, remove barriers for cast and crew through reasonable adjustments and create active and incidental opportunities to increase representation both in front of and behind the camera. This multi-tiered approach aims to produce a blueprint for an inclusive production, no matter the budget.

The following host companies and individuals supported through BTL: Next Step are:

Drama Queen – Production Manager Placement (NSW): Serena Hunt (Phi and Me, Night Bloomers) from NSW.

Helium Pictures Pty Ltd – Production Manager Placement (NSW): René Tahija (Renegade Nell) from NSW.

Australian Production House Pty Ltd – Production Accountant Placement (QLD): Kym Melzer (Godzilla x Kong, Ticket to Paradise) from QLD.

Poster Boy Productions Pty Ltd – Production Manager Placement (VIC): Lauren Kate Nichols (Strange Creatures, Urvi Went To An All Girls School) from VIC.

Poster Boy Productions Pty Ltd – Post Production Supervisor Placement (NSW): Pooja Pillai, producer and voice artist from NSW.

For more information on Industry Development support, click here.

JohnsonTV · July 29, 2025, 11:55am

TV.Cynic · August 11, 2025, 12:44am

Screen Australia celebrates emerging creatives and cultural icons in documentary funding slate

Jimmy Barnes, Working Class Man - Photo by Patrick Jones

Screen Australia has announced 30 documentaries that will share in $2.5 million of production and development funding, shaping the next chapter of Australian factual storytelling. The diverse slate highlights a new wave of documentary makers and offers intimate portraits of iconic Australians including Jimmy Barnes, George Miller, Henrietta Marrie AM and Ken Done.

Among the projects are social impact documentaries Liyan: Guided by Horses (working title) and It Starts With Us, both of which shine a light on transformative programs for young Australians.

Head of Documentary at Screen Australia Richard Huddleston said, “From regional Australia to global war zones, these rich, intimate and unflinching stories open windows into new worlds, explore our rich cultural landscape and help us understand shared challenges – moving us in ways that only documentary can.

“The calibre of talented emerging creatives we’ve been able to support has been impressive, as is the way many of them are joining forces with more experienced practitioners to achieve their aims. Our sector is ever evolving and this kind of collaborative community, coupled with innovative approaches to distinct Australian storytelling, is why our documentaries resonate with audiences here and around the world.”

Over the 2024/25 financial year, Screen Australia funded $11 million across 104 documentary projects for production and development. The agency supported a myriad of content that found critical acclaim over the past 12 months. These include Midnight Oil: The Hardest Line and Mozart’s Sister winning two AACTA-Awards, Songs Inside winning the Documentary Australia Award at Sydney Film Festival, Spreadsheet Champions screening at Hot Docs Festival in Canada and SXSW in Austin and Maggie Beer’s Big Mission winning Best Host at the C21 International Format Awards in Cannes.

On 1 July, Screen Australia launched its updated Documentary Funding Programs tailored to meet industry needs, support practitioners and foster ground-breaking content for years to come.

Some of the supported projects include:

Axis of Impersonators: This feature documentary from director/producers Nicholas Coles and Alexis Spraic of The World According to Allee Willis tells the true story of how a Kim Jong-Un impersonator teams up with a Putin impersonator to rescue a Zelensky impersonator from Kyiv after the invasion of Ukraine. Produced by Laura Waters (My Year 12 Life) and Executive Producer Emma Fitzsimons (Together), it is financed in association with VicScreen and the Melbourne International Film Festival (MIFF) Premiere Fund with support from private investment. Local distribution by Mushroom Studios and international sales lead by CAA Media Finance.
Bukal Bukal: A feature documentary from director Rhoda Roberts AO (In the Gutter? No Way). Written by Roberts and Julie Nihill, Bukal Bukal centres on Yidinji activist Henrietta Marrie AM who reformed the Australian Government and UN to benefit billions of Indigenous people and is now fighting the British Museum to reclaim her family’s stolen artefacts. Produced by Nihill and Yale McGilveray (Changing Tides) with Executive Producers Henrietta Marrie, Susie Montague, Shaun Miller, John Anastasiou and Mitch Stanley, Bukal Bukal is financed with support from philanthropy directly and via Documentary Australia.
It Starts With Us: A 30-minute documentary from emerging director Amelia Tovey that follows a group of teenagers in a ground-breaking high-school program for kids at risk of family violence. With mentors such as Rosie Batty, the program uses art to unpack social pressures that lead to violence. The documentary is produced Sophia Marinos (Namatjira Project), with producer Larissa Behrendt (One Mind, One Heart) and Executive Producers Genevieve Dugard and Deanne Weir (The Wolves Always Come at Night). It is financed with support from WeirAnderson Foundation, Shark Island Foundation, Nelson Meers Foundation and Respect Victoria. Developed with support from Screen NSW.
Mad Max and the Genius of George Miller: A feature film from Serendipity Productions in association with Yuzu Productions that tells the improbable story of how a 1970s Australian film grew into the country’s biggest ever cultural export. Produced by Margie Bryant (Knowing the Score) and directed by Chris Eley (Australia: An Unofficial History) it captures how George Miller’s singular cinematic vision influenced global cinema and set him on an unlikely journey to the pinnacle of Hollywood success. It is financed with support from Screen NSW, who also supported post, digital and visual effects.
Liyan: Guided by Horses (working title): Set against the breathtaking backdrop of the Kimberley, this feature documentary from director Sean O’Reilly (Intersection) is a heartwarming and timely story of reconnection. At the heart of it is a group of young people, nurtured within a one-of-a-kind sanctuary using horses as powerful guides, pioneered by Aboriginal researcher Professor Juli Coffin. This documentary is produced by O’Reilly with Professor Juli Coffin and Sophy Crane. It is executive produced by Hunter Page-Lochard, Huna Amweero, Daniel Gordon, Mark Coles Smith and Stephen Page.
A Year at Yumburra: A feature documentary from writer/director Grace McKenzie (In the Land of Wolves) based on Dark Emu author Bruce Pascoe’s book – Black Duck: A Year at Yumburra. The film is produced by Tom Zubrycki (Ablaze) and chronicles the seasons of Yumburra farm in Gippsland where Bruce and his partner run Black Duck Foods. It is financed in association with VicScreen. Local distribution from Madman Entertainment.
The Northern Run: A feature documentary from GoodThing Productions directed by Rhian Skirving (Off Country) and Bill Bleakley about six young Australian bull riders as they travel to North West Queensland to compete for a spot in the largest and richest rodeo in the southern hemisphere. The project is produced by Charlotte Wheaton (Spreadsheet Champions) and Nick Batzias (Ellis Park) and is financed in association with VicScreen with support from Screen Queensland.
Working Class Man: A feature documentary from CJZ commissioned by the Seven Network that tells the wild journey of one of Australia’s true rock’n’roll legends Jimmy Barnes. Directed by Andrew Farrell who worked as Executive Producer on Working Class Boy and produced by Anthony Griffis (Mythbusters), this follow-up to Working Class Boy is an honest reflection on success, fame, addiction and family told through Jimmy’s eyes with his trademark honesty and insight. Farrell and Griffis are producing with Executive Producer Matt Campbell (Working Class Boy). Post, digital and visual effects are supported by Screen NSW.
Ken Done: From director and producer Ivan O’Mahoney (Unbreakable – The Jelena Dokic Story) and award-winning journalist Gabriella Coslovich comes this feature documentary from In Films centred on the renowned artist’s life, career and transformation from an award-winning adman to an artist who helped shape the world’s view of Australia. Ken Done is financed with support from Screen Queensland and Shark Island Foundation.
Replica: An observational feature documentary from writer/director Chouwa Liang (My AI Lover) exploring the growing trend of Chinese women turning to AI chatbots for romance and companionship. The film is co-directed by Shannon Owen (Left Write Hook) and produced by Andy Huang (My AI Lover), and co-produced by by Christilla Huillard-Kann and Liang, with Stephen Luby (The Hunt: In Search of Australia’s Big Cats) on board as Executive Producer. Replica is developed with support from Screen Queensland.

Funding was also provided to Mint Pictures’ series for the ABC – When The War is Over – previously announced by the broadcaster and presented by Rachel Griffiths.

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

JohnsonTV · August 19, 2025, 7:08am

TV.Cynic · August 28, 2025, 6:31am

New Corporate Plan marks next chapter in Screen Australia’s strategic evolution

Screen Australia has released its Corporate Plan 2025-2029, detailing the Board’s new direction as an efficient, effective and future-focused organisation, helping practitioners seize new opportunities in the modern screen landscape.

The document details how Screen Australia will deliver on its renewed purpose by assigning 10 priorities, 12 deliverables and accountable KPIs to its five strategic pillars.

Screen Australia CEO Deirdre Brennan said, “As the Australian screen industry continues to face rapid disruption, there is a responsibility for the agency to help navigate that change. The economic and social contribution of the sector is undeniable – with Australia’s talent, creativity and ability to collaborate, I am confident that the sector will continue to be resilient.”

“Our newly shaped Corporate Plan reflects the agency’s ambition to transform today’s challenges into future opportunities and long-term growth. It also evolves Screen Australia’s accountability through reconceptualised measures, ensuring our programs and services deliver on our purpose.”

Screen Australia’s approach is driven by key operational principles:

Data-driven, outcome-focused decision making that emphases impact and effectiveness over volume of activity.

Audience-first, platform-agnostic funding to support projects with clear, measurable audience connection.

High-impact investments delivered through streamlined, efficient funding pathways.

Enterprise sustainability by backing screen businesses and creative talent, not just individual projects.

Stronger industry alignment through collaboration, shared objectives and transparent communication.

The full Corporate Plan 2025-2029, including details about each of the five strategic pillars, can be found here.

JohnsonTV · September 11, 2025, 11:28am

Five creative teams selected for Screen Australia’s Audience Design Initiative

Top L-R: Darlene Johnson, Lydia Rui, Lisa Albert
Bottom L-R: Vincent Lamberti, Brooke Silcox, Kate Riedl

Screen Australia have announced the five successful creative teams who will take part in the 2025 Audience Design Initiative.

Launched in 2024, the Audience Design Initiative has expanded to support mid-career producers and creative teams across both scripted and documentary features. The initiative offers the opportunity to gain an increased understanding of audiences in today’s globally competitive industry marketplace.

Across two weeks, the five teams will work with leading Audience Design Consultant Síle Culley, benefitting from her expertise in project funding, international sales and festival selections. Each workshop will build on specialised audience-based exercises, as well as explore themes, demographics, psychographics and domestic market insights, resulting in an audience plan for each of the teams’ projects.

The Audience Design Initiative participants are:

Brooke Silcox, Olivia Martin-McGuire and Rebecca Barry (No Thing Productions and Media Stockade): Founded by award-winning drama and documentary producer Brooke Wilcox, No Thing Productions specialises in humanitarian stories and supporting the arts. Its films include internationally acclaimed short film Judas Collar, hybrid hand-drawn animation and film documentary Freedom Swimmer and film-festival favourite RocKabul. Media Stockade, co-founded by Rebecca Barry, is known for China Love, Mozart’s Sister and Back to Nature. The initiative will assist Silcox, writer/director Olivia Martin-Mcguire and producer Barry develop audience insights for their upcoming documentary project Estranged.

Kate Riedl and Courtney Botfield (Denim Pictures): Sydney-based production company Denim Pictures is dedicated to making bold and distinctive film and television content. Producer Courtney Botfield and award-winning producer, director and writer Kate Riedl join this year’s Audience Design Initiative to develop audience insights for their upcoming comedy feature Dreamboat.

Lisa Albert and Vincent Lamberti (Fringe Dweller Films): Award-winning Australian production company Fringe Dweller Films is led by acclaimed director Vincent Lamberti and producer Lisa Albert. Driven by stories with a social justice purpose, provocative ideas and bold storytelling, Fringe Dweller Films’ projects include documentaries Revealed: Killjoy, Intervention and Rapping it Up . The Audience Design Initiative will assist Albert and Lamberti with their upcoming feature documentary The Act of Dying.

Lydia Rui and Kate Laurie: Award-winning Australian Chinese writer and director Lydia Rui’s work has screened at film festivals worldwide including Tribeca Film Festival and Melbourne International Film Festival. Rui and AACTA-nominated producer Kate Laurie join this year’s Audience Design Initiative to for their first joint project Counting Cards with My Father.

Darlene Johnson: Dunghutti woman, writer and director Darlene Johnson debuted with Two Bob Mermaid, making history as the first Indigenous Australian film to screen in competition at the Venice Film Festival. Her work has since been nominated for an Emmy Award and AFI Award, among other accolades. She joins the Audience Design Initiative to develop audience insights for her upcoming scripted feature drama Jiling, which features Executive Producer Allanah Zitserman.

For more information about Screen Australia Audience Design Initiative, see here.

TV.Cynic · September 21, 2025, 10:26pm

Screen Australia amplifies 46 distinctive local stories with funding for new dramas

Screen Australia has announced $12.8 million in funding across 46 narrative projects, celebrating distinctive perspectives with local and global appeal. From bold stories to major co-productions, the titles showcase the originality and ingenuity of Australia’s creative talent, produced for a range of audiences.

Among the projects supported is director Rob Connolly’s Shiver, the first Australian narrative feature film to shoot in Antarctica; a laugh out loud comedy for ABC starring Anne Edmonds and Kitty Flannagan; Australian and Canadian co-production Written in the Stars; a satirical web series centred on beloved television personality Tony Armstrong; and crime mystery series The Killings: Parrish Station for Stan.

Director of Narrative Content at Screen Australia Louise Gough said, “We know Australian stories are in demand across the world and in our own backyard, and Screen Australia is uniquely positioned to support the tapestry of voices that celebrate and speak to our multi-faceted, diverse community. Local stories are resonant because they are beautifully particular yet underpinned by universal themes that all viewers can relate to.”

"Our creative industry is respected internationally for their craft and commitment to bold, ambitious projects. This investment is a testament to the tenacity of our emerging and established creatives, including the collaborative spirit that connects Australian stories with global audiences.”

Director of Shiver Robert Connolly on an initial shoot in Antarctica.

Some of the supported projects include:

Shiver: From director Robert Connolly (The Dry, Blueback), Shiver will be the first Australian narrative feature to be filmed in Antarctica. Based on Nikki Gemmell’s acclaimed novel, this adaptation follows the profound transformation of a young journalist as she ventures into the vast, fragile wilderness of Antarctica. It will be produced by Liz Kearney (Memoir of a Snail) and Kate Laurie (Petrol) alongside Connolly. It has received major production investment from Screen Australia in association with VicScreen, with support from Minderoo Pictures. International sales by HanWay.
Bad Company: A six-part comedy series from Guesswork Television created by AACTA award-winning comedian Anne Edmonds, who stars alongside Kitty Flannagan of the local and international hit Fisk. Set within the crumbling walls of an iconic theatre company on the brink of bankruptcy, Bad Company is directed by Tom Peterson (Fisk), produced by Andrew Walker (Deadloch), with executive producers Kevin Whyte (Rosehaven), Edmonds and Ben Grogan (Upper Middle Bogan). It has received major production investment from the ABC and Screen Australia and is financed in association with VicScreen. International sales by Guesswork Distribution.
Written in the Stars: An Australian and Canadian feature based on Su Dharmapala’s novel The Wedding Season, adapted for screen by Menik Gooneratne. A celebration of the Sri-Lankan community in modern-day Melbourne, this heartwarming rom-com explores universal themes of love and destiny. It will feature an all-South Asian cast led by Australian actor, writer and producer Gooneratne. Written in the Stars is directed by Fawzia Mirza (Queen of My Dreams) and produced by Leanne Tonkes ( The Second), Andria Wilson Mirza (Queen of My Dreams), Melissa Russo (Together), Jenni Tosi (Holly’s Heroes), Marc Tetreault (Sullivan’s Crossing), and Jason Levangie (Sullivan’s Crossing). It has received major production investment from Screen Australia in association with the Telefilm Canada Production Program and VicScreen. Local distribution by Maslow Entertainment.
The Killings: Parrish Station: A six-part series from Helium Pictures for Stan directed by Daniel Nettheim (The Tourist, The Assassin), created and written by Ben Jenkins (The Chaser, The Checkout ), Tim Pye (Bali 2002), Yolanda Ramke ( Cargo) and Catherine Smyth-McMullen (The Other Lamb). A cosmic mystery intertwines with horror as a gruesome massacre at a remote research station plunges a detective into an inexplicable, decades-long mystery. The series is produced by Kerrie Mainwaring (Bali 2002) and executive produced by Helium’s Mark Fennessy. It has received major investment from Screen Australia and Screen NSW in association with ITV Studios and will be distributed internationally by ITV Studios.
2 Moons: From director Fadia Abboud (House of Gods) and in partnership with Powerhouse Parramatta comes a science fiction drama set in Western Sydney exploring the lives of five ordinary people as they grapple with a potential apocalypse. Produced by Annabel Davis (Here Out West) and Kali Reid from Co-Curious and executive produced by Sheila Jayadev. 2 Moons is a multi-writer feature with an interwoven plot from five writers including James Elazzi, Gabriel Faatau’uu-Satiu, Andrew Undi Lee, Randa Sayed and Danielle Stamoulos. It has received major production investment from Screen Australia.
Shilling It: A six-part satirical webseries in development from creators Henry Stone and Tony Armstrong, centred on a fictionalised version of Armstrong, as an Australian television personality caught in the ethical tug-of-war of lending his name to dodgy social media content brand deals. Across six 10-minute episodes, Tony navigates fame and influence while attempting to maintain personal integrity. Shilling It will be co-written and produced by Tony Armstrong and Henry Stone, with Stone directing.
Martini Mama: A comedic feature about confronting the past, regrets and navigating change from director John Sheedy (Runt). Written by Christopher Gist (The Op Shop), Martini Mama is produced by Julie Ryan (H is for Happiness), Ari Harrison (Penny Lane is Dead) and Kate Whitbread (The Spirit of the Game) . It has received production investment from Screen Australia in association with Fandomodo and VicScreen, with support from Sanctuary Pictures, KW Films and Adelaide Film Festival Investment Fund. Local distribution by Umbrella Entertainment and international sales by Upgrade.
Florence: A six-part premium drama series in development from Hoodlum Entertainment based on the true story of the iconic and enigmatic designer Florence Broadhurst. From co-creators Emma Freeman and Michael Lucas, the story unpacks the life of a woman who irrevocably changed the style of Australia. Kerrin McNeil and Tracey Robertson are producing, with executive producers Bazmark, Tracey Vieira, Nathan Mayfield, Sarah Mak and David Lloyd-Lewis.
Bloom : A five-part webseries written and directed by Stephen de Villiers (The Run) and Alice Yang that follows 16-year-old Jasmine who receives a cancer diagnosis and the emotional and physical toll this has on her and the people who love her. Released on YouTube and other platforms, Bloom is produced by Chloe Gardner (The Run), Robbie Greenwell and Maisie Fabry.

Two new Screen Australia funded original children’s series were recently announced for the ABC, Happy House and Caper Crew, which will screen in 2026.

On 1 July, Screen Australia launched its updated Narrative Content programs and guidelines tailored to meet industry needs, support practitioners and foster ground-breaking content for years to come.

JohnsonTV · October 23, 2025, 11:30am

JohnsonTV · October 28, 2025, 10:26am

Applications Open for Talent Gateway and Global Producers Exchange

Screen Australia and Australians in Film (AiF) announce the fifth instalment of the Talent Gateway program and the Global Producers Exchange. The initiatives are designed to support established Australian creatives to expand on skills and connect with key international decision-makers, as well as position Australian projects for success in the global market.

Screen Australia COO Grainne Brunsdon said, "These initiatives create invaluable opportunities for Australian talent to strengthen ties with the global sector. Through meaningful international collaborations, our local creatives can elevate their business practices and establish new pathways to share Australian content and cultural stories on the world stage. We are delighted to partner with Australians in Film once again to support the professional development of our industry.”

Peter Ritchie, Executive Director of Australians in Film, said, “Over the past several years, through our collaboration with Screen Australia on the Talent Gateway and Global Producers Exchange programs, we’ve had the privilege of connecting Australia’s leading screen professionals with some of the world’s most accomplished industry experts in Los Angeles and beyond. These exchanges and the market intelligence shared have created real change in the stories being developed and told by Australian screen creatives. We’re excited to continue this partnership and to support the next round of Australia’s best talent as they create bold, globally resonant stories for audiences both at home and around the world.”

Global Producers Exchange

This program provides Australia’s leading producers with the skills, knowledge, access and relationships necessary to succeed in the global market, and to attract foreign investment and marketplace partnerships for Australian scripted content.

Up to six production companies/producers will be selected to participate in the Global Producers Exchange development lab of roundtables and masterclasses with key international screen decision makers and tailored 1:1 mentorships. Each delegate will receive up to $60,000 to enable them to take part in the program which runs April to July 2026. Funding will be used to support writers and directors to develop, refine, pitch and market their scripted projects, based on constructive feedback from mentors and experienced industry executives throughout the program, as well as help participants engage international partners for their projects.

The initiative aims to give Australian IP and cultural stories the opportunity to be developed with international collaborators who possess a global outlook and a proven track record of success with international audiences, and to help position projects for success in the global market.

For eligibility requirements and how to apply, see the guidelines here.

Applications close 5pm AEDT, Thursday 4 December 2025.

Talent Gateway

The Talent Gateway program provides Australian screen creatives who have a high level of recent international success with the skills, knowledge, access and relationships necessary to succeed in the global market.

Up to six delegates will be selected to participate in roundtables, masterclasses, introductions with key international screen decision makers and tailored 1:1 mentorships. Each delegate will receive up to $20,000 to enable them to take part in the program, which runs from April to July 2026. Funding will be used to develop, refine, pitch and market the IP on their slate that receives positive interest from mentors and experienced industry executives throughout the program, to help participants quickly engage international partners for their projects.

For further details, eligibility requirements and how to apply, see the guidelines here.

Applications close 5pm AEDT, Thursday 4 December 2025.