Screen Australia empowers the next games generation, including new creatives from neighbouring disciplines
Top (L-R): Foodomina, Delverium .
Bottom (L-R): Club Rat, Little Ruin .
Screen Australia has today announced the latest funding to help level-up Australian gamemakers, including a cohort of newcomers from non-games fields.
The announcement includes $1.4 million across 26 projects from the Games Production and Emerging Gamemakers funds, supporting the creation of original games centred on Australian stories and ideas. In addition, eight creators will be supported to visit Kyoto’s BitSummit 2026 as part of the Future Leaders Delegation.
Screen Australia Head of Games Joey Egger said, “Supporting emerging gamemakers invests in the future of our talented industry. Having Australian funding support for games is essential for building a resilient and innovative games sector for the next five, ten, twenty years. It’s also inspiring to see creators from diverse backgrounds like architecture, animation and the performing arts working hand-in-hand with some of our more experienced gamemakers. This kind of innovative dynamism, coupled with our unique sense of storytelling, is what makes Australia such an indie powerhouse on the world stage.”
Some of the projects:
Screen Australia has today announced $20.4 million of production and development funding across 91 narrative projects, including the first projects through its new Short Film Production Funding Program.
Among the titles is a new season of the award-winning children’s series Little J & Big Cuz, an untitled Official Australian/Canadian Co-production feature film marking Cody Fern’s directorial debut, animated mystery musical direct-to-audience series The Art of Murder for YouTube, and family film Silver Beach (working title).
Sundowner, The Novelty, Inferno and Lazy Love (Lasagne 365) are the first short films to receive production funding through the new program, marking the agency’s return to direct investment in the format and reaffirming its vital role in the careers of future feature filmmakers. Alongside this support, participating teams will receive professional mentorship from an exceptional cohort of industry directors whose insight will help strengthen skills, elevate projects and support pathways to extended narrative production. Mentors include Beck Cole (High Country, Deadloch), Isobel Knowles and Van Sowerwine (The World Came Flooding In, Passenger), Noora Niasari (Shayda) and Goran Stolevski (Of An Age).
Screen Australia Director of Narrative Content Louise Gough said, “The range of these 91 projects showcases the depth, diversity and bold creativity of local storytellers, shaped with Australia’s unique blend of humour, style and perspective. We’re particularly lucky to have industry figures of such calibre to mentor the four directors of our Short Film Program, guiding them to hone their unique, imaginative shorts for cinema and festival audiences. No doubt this experience will help the short film teams to grow their craft, build recognition and eventually move toward long‑form storytelling.”
Some of the supported projects include:
- The Laugh of Lakshmi: A debut feature film about a mother and a son separated by a civil war from acclaimed theatre writer/director S. Shakthidharan (Counting and Cracking, The Jungle and The Sea). Written and directed by Shakthi and produced by award-winning producers John Maynard (Balibo), Vivek Rangachari (The Lunchbox) and executive producer Bridget Ikin (Sherpa, Look Both Ways). The Laugh of Lakshmi is filmed in Northern Sri Lanka and Western Sydney in Tamil and English. Major production investment from Screen Australia, in association with the Felix Foundation and Palmera. Financed with support from Screen NSW. Local distribution by Footprint Films and international sales by Maze Film Sales.
- Untitled Feature Film: An Official Australian/Canadian Co-production and the feature directorial debut from actor Cody Fern starring Naomi Watts, Sarah Paulson, Odessa A’zion, Dianne Wiest and Toby Wallace. The film centres on a celebrated actress whose life begins to unravel on the eve of her greatest performance. Produced by Matilda Comers and Will Howarth for Fictious, alongside Nancy Grant (Mommy, Sentimental Value) and Rosalie Chicoine Perreault (Geographies of Solitude), the film has received major production investment from Telefilm Canada and Screen Australia. Distributed by Icon in Australia and Elevation Pictures in Canada. International sales by mk2.
- Fortitude Valley: Written, created and executive produced by Moving Floor Entertainment co-founders Stephen M Irwin and Leigh McGrath (Harrow), with Hunter Page-Lochard (Reckless, Beep and Mort), this gripping six-part crime thriller stars Page-Lochard and acclaimed actress Kat Stewart. Filmed and set in Queensland’s capital city, the series explores family secrets, the corrupting force of power and the complicated truths behind lies. Fortitude Valley is directed by Sian Davies (Black Snow), produced by Andrew Walker (Deadloch) and co-produced by Ross Allsop (The Artful Dodger), with executive producer Greg Sitch (Fisk). Major production investment from Screen Australia, the ABC and Screen Queensland. International sales by DCD Rights.
- Little J & Big Cuz Series 5: The award-winning animated children’s series for NITV and the ABC returns for a fifth season. From director and Trawlwoolway man Tony Thorne, the series follows five-year-old Little J and nine-year-old Big Cuz, two First Nations Australian kids who, with the help of Nanna and their teacher Ms Chen, find out all about culture, community and Country. Co-produced by Ned Lander Media and First Nations company Ramu Productions, the series has received major production investment from Screen Australia and the ABC, in association with NITV. Financed with support from the Australian Children’s Television Foundation with Vicscreen, Screen Tasmania and the Australian Council for Educational Research. International sales by the Australian Children’s Television Foundation.
- Agata the Writer: A debut feature from Polish-born Australian writer/director/video artist Kuba Dorabialski and produced by Alex White (Babyteeth). Mia Wasikowska stars as a Polish-Australian satirical novelist who travels from Sydney to Sarajevo to write a war novel. Challenged by locals who question her motives, her creative uncertainty grows while a startling mystery unfolds. Executive produced by Erik Black, Mia Wasikowski and Alémais, Agata the Writer has received principal production funding from Screen Australia. Financed with support from Creative Australia and the Adelaide Film Festival Investment Fund. Local distribution by Bonsai Films.
- The Art of Murder: An animated series to be released on YouTube from Choc Chip Animation Studios. Spearheaded by sisters Nirali Somaia (writer/director) and Anokhi Somaia (writer/producer), this murder mystery musical is a love letter to pop culture and the artist’s journey, set in a world where sketchbook drawings come to life. Featuring voice actors Joey Bizinger (The Anime Man), Joey Richter and Lauren Lopez (Team Starkid), Megan Lee (KPop Demon Hunters) and Lizzie Freeman (The Amazing Digital Circus), with composers Sonya Belousova and Giona Ostinelli (One Piece, The Witcher). Principal production funding from Screen Australia, in association with Choc Chip Animation Studios and VicScreen.
- Silver Beach (working title): From multi-award-winning producer and executive producer Joanna Werner (Goolagong, Knee High Spies) and executive producer and creator Rachel Davis (Mustangs FC, Turn Up The Volume), with AWGIE award-winning screenwriter Alix Beane (The Strange Chores, Rock Island Mysteries), Silver Beach is a family film about friendship, self-acceptance and the courage to pursue your dreams. Major production investment from Screen Australia, in association with the Australian Children’s Television Foundation and Stan. Financed with support from Screen Queensland with VicScreen. International sales by the Australian Children’s Television Foundation.
- The Funeral Singer: A six‑part romantic comedy series from Jungle Entertainment that navigates grief, fear and falling in love in the most unlikely of places. Created by Lucy Durack (Love in Lockdown) and written by Leon Ford (Upright, Dog Park), with executive producers Jason Burrows and Chloe Rickard for Jungle Entertainment. The Funeral Singer received development funding.
- Asian Girls: A horror film which expands on the successful short of the same name, this feature is from writer/director Hyun Lee (Fake), with producers Georgia Noe and Matt Noonan (Hunt for the Wilderpeople). A driven Korean‑Australian woman plagued by relentless visions of ghosts, Kim receives a stark warning from a Korean shaman that she must give up her career aspirations to become a shaman herself. Asian Girls received development funding.
The Narrative Content Short Film supported projects are:
- Sundowner: From Western Australian First Nations filmmakers, this romantic comedy is produced by Shakara Walley (Aussie Rangers), directed by Gary Hamaguchi (Doug the Human, The Lost Crystals of Jessica’s Room) and co-written by Calen Tassone (The Heights, Irreverent) and Jamahl Ryder. The film is based in a First Nations cultural awareness training organisation where office worker Stephen must decide to follow either his head or his heart. The Sundowner team will be mentored by director Beck Cole (High Country, Deadloch). Principal production funding from Screen Australia.
- The Novelty: Driven by a female‑led creative team including writer, director and producer Charlotte Mungomery (This is Not Here), with producers Rebecca Lamond (The Golden Spurtle) and Clementine Anderson (Mary), the short film is set in the rural town of Dalby, Queensland. In the heat of a summer’s eve outside a hairdressing salon, innocence curdles with cruelty as a young girl’s silence breaks with an irreversible act. The creative team for The Novelty will be mentored by director Noora Niasari. Principal production funding from Screen Australia in association with Screen Queensland.
- Inferno: A haunting coming-of-age story directed and written by Mark Wills (The Horn, Blood Orange), produced and written by Rahel Romahn (The Horn, Blood Orange), with producer Yolandi Franken (Streets of Colour, The Horn, Carmen & Bolude). When a group of teenagers plot a cruel prank on an alienated boy, they unwittingly awaken a quiet force within him. The Inferno team will be mentored by director and screenwriter Goran Stolevski. Principal production funding from Screen Australia.
- Lazy Love (Lasagne 365) : An adult animation from animation duo Haein Kim (director) and Paul Rhodes (writer, director), and produced by writer, director and producer Robertino Zambrano (Love in the Time of March Madness) who is executive producing with Dulce Aguilar. The short film follows Apple, out to avenge an insult against so‑called ‘stinky Asian food,’ and Toby, whose mission is to track down the best lasagne in Western Sydney. The Lazy Love team will be mentored by directors, screenwriters and animators Isobel Knowles and Van Sowerwine. Principal production funding from Screen Australia.
Screen Australia also funded recently announced series The Airport Chaplain and Separated at Birth, with support for further major Narrative Content projects to be announced in coming months.
Both Narrative Content Production and Development blocklines are available here.
Production Infrastructure and Capacity Analysis (PICA) pinpoints four key workforce challenges in the Australian screen industry
Olsberg•SPI’s Production Infrastructure and Capacity Analysis (PICA) 2026 study has recognised Australia as a world-class, globally trusted hub for high production value content, while also identifying challenges that could inhibit long-term workforce capacity across screen production, PDV and animation, and digital games.
The study, commissioned by Screen Australia and released today, highlights four clear pressure points that could constrain the local sector’s future growth and impact competitiveness in the global market – lack of business scalability, skills gaps, limited career progression and infrastructure constraints.
Screen Australia Chief Operating Officer Grainne Brunsdon said, “This study not only reaffirms Australia as a world leader in high value production, it also provides specific guidance on how the sector can navigate a dynamic, ever-changing landscape. I’d encourage screen and games leaders to view these findings as a springboard to tackle the challenges of today and seize the opportunities of tomorrow.”
“For those working in production, PDV, animation and digital games, there is strong potential here to recalibrate capacity readiness and sharpen your competitive edge in a fierce global market. The PICA study equips you with the necessary insights to collaborate, act and build a more flourishing economically sustainable industry.”
To ensure economically sustainable business growth for local companies that are often small and project based, the findings suggest the development of key capabilities that improve scalability and support. Introducing targeted training programs for business development, strengthening the links between academia and industry, forging stronger international partnerships (particularly in the Asia-Pacific region) and stimulating private investment in locally owned content were identified as key improvements to be made.
The study emphasises training optimisation to address critical skills shortages and align programs with current industry needs. Increasing interstate initiatives, bridging the gap between industry and education programs, micro-credentials, continuous upskilling and innovative approaches to training programs were recommended to strengthen Australia’s competitiveness in the area.
When it came to workforce weaknesses, the study found unclear career progression and seniority gaps arose from high rates of attrition and key cohorts aging out of the workforce. To create clearer progression structures and improve work conditions, emphasis was placed on enabling Australian talent to embed in companies internationally, introducing a national grading system for physical production and PDV/animation, improving data collection and analysis, improving job-matching infrastructure and increasing structured mentoring.
Finally, to address infrastructure challenges, strengthening inter-organisational coordination, preserving essential industrial areas and supporting new shared workspaces would address limitations in physical facilities. Coordinating sound stage development and capacity planning, preserving access to industrial land for screen-related storage and re-establishing dedicated collaborative workspace for digital games were identified as the key opportunities to address this.
Australian Film Television and Radio School (AFTRS) Chief Executive Officer Nell Greenwood advised on the development of the PICA study and said, “This audit delivers essential, evidence-based insight into our screen industry’s capacity and the kind of comprehensive data critical for the industry and training providers to understand and address emerging skills needs and workforce development. As Australia’s national screen school, we look forward to working with partners across the sector to implement the recommendations and advance a coordinated national approach to industry training.”
Screen Australia commissioned the PICA study in alignment with the Empower pillar of the agency’s new Corporate Plan, which focuses on equipping industry with valuable insights and research. Later this year, the agency will also release the landmark Screen Currency report measuring the economic, social and cultural value of Australian screen and games production.
Key study findings for physical screen production:
- For below-the-line (BTL) crew, the top five roles identified by hirers as having the greatest capacity concern were Line Producer, Location Manager, Production Accountant, Production Coordinator and Production Manager.
- Half of the physical production respondents reported a tenure of over 20 years (47%), speaking to the longevity of the industry.
- 77% of surveyed practitioners worked in film, with 59% working in broadcast and 59% in streaming/VOD.
- Nearly two thirds (65%) of professionals work on narrative feature films.
- Most physical production professionals (59%) work primarily in capital cities.
Key study findings for PDV and animation:
- The top five roles identified by hirers as having the greatest capacity concern were VFX Supervisor, Technical Director, Editor, Art Director and VFX Editor.
- Over a quarter (27%) of PDV and animation professionals surveyed had an Australian industry tenure of more than 20 years, with more than half (52%) having worked in the industry between six and 20 years.
- Respondents worked on an average of six international productions in the last three years, twice the average of physical production professionals.
- Almost two thirds (65%) of surveyed practitioners are employed in post-production. A similar proportion of practitioners worked across digital/animation (44%) and VFX (43%).
Key study findings for digital games:
- The top five roles identified by hirers as having the greatest capacity concern were Artist, Programmer, Designer, Producer and Engineer.
- 90% of gamemakers surveyed created PC games, ahead of consoles (68%) and mobile (46%).
- The vast majority of respondents work within indie studios (82%), with only 16% working in AAA studios.
- The largest proportion of digital games makers live in Melbourne, however, 6% less people live in the capital than work there, suggesting that gamemakers travel in from regional Victoria for work, or work remotely for Victoria-based companies.
Read the full PICA study here.
SCREEN AUSTRALIA LAUNCHES NEW WEBSITE
The new-look Screen Australia site introduces a range of upgrades, including a new Funding Finder Tool that offers simple, intuitive search and navigation for all funding programs and initiatives.
Check it out!
What is that meant to be? Does Screen Australia have a new mascot? 
That is the main character from Andy Lee’s cartoon Do Not Watch This Show.
>Wizz is a pompous blue monster who is stuck in a TV show that he does not want people to watch.
Much like @ElCapitanCranky on Media Spy. 
Evidence? 
First Nations Factual Co-production Development Fund launched to elevate Indigenous storytelling in global markets
Screen Australia’s First Nations Department, in partnership with Screen Canberra, Screen NSW, Screen Queensland, Screen Tasmania, Screen Territory, Screenwest, South Australian Film Corporation and VicScreen, has today opened applications for the First Nations Factual Co-production Development Fund, a new national program designed to strengthen and elevate First Nations screen businesses in international markets.
The program will support up to five First Nations businesses to expand their global experience by fostering creative exchange between countries based on the development of factual projects that explore Indigenous perspectives of cultural significance.
Successful applicants will receive a grant of $30,000 each for both the development of two factual projects with potential for international co-production or Official Co-production (created under treaty frameworks) and attendance at Canada’s TIFF: The Market.
Screen Australia Director of First Nations Strategy Rachel Perkins said, “First Nations storytellers around the world share deep cultural connections that transcend time and place, offering powerful, diverse perspectives. This program enables those perspectives to be realised on screen, creating distinctive, high-quality factual storytelling that resonates worldwide. By developing projects for the TIFF 2026 market, we’re creating a vital pathway for First Nations stories to reach global audiences.”
First Nations-owned and operated production companies led by Indigenous practitioners are encouraged to apply. Applicants must be mid-to-established career practitioners with at least two documentary screen credits or have created 60 minutes of factual content broadcast, and be available to attend TIFF: The Market (10-16 September 2026).
Applications close 5pm AEST Thursday 4 June 2026. More information regarding eligibility criteria and how to apply can be found here.
Potential applicants are also encouraged to watch the recent Official Co-production Ask Me Anything session which features information on First Nations co-productions available here.
Three new kids’ digital series set to hatch from ACTF and Screen Australia incubator
Three original Australian children’s series will soon be released on YouTube (Made For Kids) thanks to the Kids IP Incubator, a Screen Australia and Australian Children’s Television Foundation (ACTF) initiative to develop Australian IP for children’s programs on digital platforms.
In 2025, eight teams took part in the Incubator, receiving expert guidance and advice through in person workshops and online masterclasses while developing their projects. After pitching to a panel of ACTF and Screen Australia representatives, and international digital content strategist Nico Lockhart, three projects were selected to receive production funding. Those three projects will launch their YouTube channels in coming weeks.
The three successful teams and their projects are:
- Worm Diner from Victorian-based team Strange Mage, produced by Monique Mulcahy (Aunty Donna) and written and directed by emerging creatives Caitlyn Staples (web series Nark Mikoladis the Trading Card King) and Millie Holten (web series Long Head).
Worm Diner is a kids narrative comedy show aimed at children aged 7-11, set in a quirky family diner at the edge of the multiverse. Inside, the distantly related Worm family serve weird and wonderful characters from across the cosmos. Fast-paced, joke-dense and absurd, each 8-minute episode of Worm Diner serves up silly, smart and weird comedy that kids can binge today and quote tomorrow.
- Pit Pats from a regional Victoria-based team led by mid-career Writer, Director and Producer Darcy Prendergast and Writer/Director Josie Mackerras on her first screen project.
Pit Pats is a gentle preschool show mixing stop motion, live-action, puppetry and hand drawn animation, with a focus on mindfulness, movement and music. Much like their like-minded audience, the Pit Pats themselves are curious creatures that are eager to learn and grow, using their small melodic voices to navigate the complexities of the world and find their place in their community’s chorus.
- MAGIC MONKEY MAYHEM from Queensland-based Little Tiger Films, led by Writer, Director and Producer Nicholas Lin (Bluey, The Strange Chores) and Producer Stefan Wernik (The Jellies, One, Two, Threebies).
When the Monkey King and his little brother relocate to modern Brisbane, they must navigate Aussie culture, magical monkey mishaps, and the eternal struggle of two multicultural misfits just trying to fit in. Blending live-action with animation, this unique series is aimed at children aged 5-12.
ACTF CEO Jenny Buckland said, “The Kids IP Incubator was a joyful project where learning and creativity collided for all the participants and for us as well. These three projects are highly original and made with great respect for the children’s audience. We’re looking forward to their launch on YouTube!”
Screen Australia Director of Narrative Content Louise Gough said, “The landscape for children’s content is evolving quickly, and Kids IP Incubator plays a critical role in empowering creators to innovate and meet our littlest audiences and their families wherever they watch and engage. Worm Diner, Pit Pats and Magic Monkey Mayhem are bold, imaginative projects – it’s exciting to see them readying to meet audience and captivate young hearts and minds both in Australia and beyond.”
Worm Diner and MAGIC MONKEY MAYHEM will launch on YouTube this June. Pit Pats will launch early August.