#1

MAPA DE FUNDOS
INTERNACIONAIS PARA PROJETOS
AUDIOVISUAIS BRASILEIROS

A ROADMAP TO FINANCING
OPPORTUNITIES FOR BRAZILIAN
AUDIOVISUAL PROJECTS WORLDWIDE
Neste momento conturbado que todos estamos atravessando no país e no mundo,
o audiovisual demonstra sua força e poder. Ganhou relevância, tanto como forma
de entretenimento como de informação.

As obras audiovisuais são frutos de trabalho coletivo de mentes criativas e técnicas

nas mais diversas telas. Em cada país as produções são fomentadas por diferentes
fontes de financiamento. No Brasil, mecanismos de incentivos públicos são a prin-
cipal fonte de fomento que induz, estimula e atrai o capital privado nas formas de
investimento e/ou patrocínio.

Em meio às mudanças de prioridades nas políticas públicas para a área da cultura

e, em especial, o audiovisual, sofremos os abalos irreparáveis de uma pandemia
global e ainda as disruptivas transformações tecnológicas de distribuição e fruição
de conteúdos audiovisuais.

É nesse contexto que surge uma iniciativa inédita, parceria entre Brazilian Content,
Cinema do Brasil e Projeto Paradiso: o “SHOW ME THE FUND”, um mapeamento
exclusivamente produzido para os players brasileiros que traz luz ao primeiro e
fundamental elo da cadeia produtiva: os agentes financiadores.

Compilamos um extenso material sobre recursos internacionais disponíveis para as

mais diversas fases das produções brasileiras, do desenvolvimento à distribuição.
Selecionamos 50 iniciativas de financiamento pesquisadas pela LatAm cinema que
apresentamos de maneira didática em dez fichas reunidas em publicações quinze-
nais.

Esperamos que este material abra novos caminhos e formas de estruturar econô-
mica e financeiramente os projetos de vocês.

Boa leitura, boa pesquisa e SHOW ME THE FUND!

www.showmethefund.co
In this troubled moment that we are all going through in the country and in the
world, the audiovisual  sector  demonstrates its strength and power. It gained un-
precedented relevance as a form of entertainment and information.
 
Audiovisual works are the result of collective work of creative and technical minds
on a great range of screens. Each country has its own way of encouraging produc-
tion through different sources of financing. In Brazil, public incentive mechanisms
are the main source of funding that urges, stimulates and attracts private capital as
investment and / or sponsorship.

In the middle of all the changes in the public policies priorities for culture and espe-
cially audiovisual, we are suffering the irreparable adversities of a global pandemic
and also the disruptive technological transformation in the distribution and enjoy-
ment of audiovisual content.

This is the context for the appearance of this unprecedented initiative, a partnership
among Brazilian Content, Cinema do Brasil and Projeto Paradiso:  “SHOW ME THE
FUND”, a roadmap exclusively produced for Brazilian players that unveils the first
and fundamental link in the production chain: the financing agents.

We have compiled an extensive material on international resources available for the

most diverse phases of Brazilian productions, from development to distribution. We
selected 50 funding initiatives researched by LatAm cinema that we now present in
a didactic way in forms that will be published fortnightly.

We truly hope that this material opens up new opportunities and strategies to struc-
ture your projects economically and financially.

Have a nice reading, a good research and SHOW ME THE FUND!

www.showmethefund.co
O Projeto Paradiso
visa impulsionar o
crescimento profissional
dos talentos do
audiovisual, com foco
na criação de obras
que se conectam
com seus públicos.

Com programas de
bolsas, mentorias,
workshops e estudos,
Projeto Paradiso
atuamos na formação, provides high-value
no apoio ao roteiro support mechanisms
e ao desenvolvimento for Brazilian talents
de projetos de ficção, in the audiovisual
bem como na busca sector, with a focus on
fiction films and series
de novas referências
that connect with
pautadas pela
their audiences.
inteligência em
audiências. We invest in professional
training building
through fellowships,
Como foco na mentoring programs,
internacionalização, workshops and studies,
atuamos por meio looking to champion
screenwriting and script
de parcerias
development as well
com instituições as audience design.
de referência, criando
uma rede de As part of our goal of
profissionais internationalization,
no Brasil we partner with leading
institutions, nurturing
e no mundo.
a network of
professionals in
Brazil and connecting
them with training
and business trading
opportunities
worldwide.

Conheça nossas oportunidades / Find out more about us:

www.projetoparadiso.org.br projetoparadisoIOR @projetoparadiso

Uma iniciativa do
 HOW TO READ THE INDEX CARDS
15 fields of information have been used as input to elaborate these cards. The
sidebar contains comments and tips on each fund that can be useful when making
a decision. The cards are broken down into three sections: About the Fund, Eligi-
bility Requirements & Comments. Below you will find a definition of each field and
the graphic icons used.

While SHOW ME THE FUND is focused on funds, the cards also feature

OTHER OPPORTUNITTIES that don’t deliver actual grants, but can provide a major
boost to the project.

Name of the organisation and country of origin.

ORGANISER: WOMEN IN FILM (WIF)

F Fiction
WOMEN IN FILM -
Documentary
Name and FILM FINISHING FUND D
description Los Angeles’ based Women In Film (WIF) is a non-profit organization that “advocates for
Non fiction
of the fund and advances the careers of women working in the screen industries to achieve parity
and transform culture.” Through this fund, a select group of films—from any genre or
format—is awarded grants in cash and “in-kind” production services to complete projects
that fit the criteria of being by or about women. The Fund awards four grants per year.
A Animation
Since its inception in 1985, the Film Finishing Fund has awarded over two million dollars
Brazilian producers to 280 films from all over the globe.

are eligible for all the S Series

selected funds.
PROJECT/GENRE
Others
ELIGIBLE COUNTRIES
Brazil + all countries F D O O (Hybrid, VR, Transmedia, etc.)
WHO CAN APPLY?
STAGE
Directors who identify as a woman

The closing date or the YEAR OF CREATION

submission period is included. 1985
Development
If the call for entries is already
DEADLINE(S) WIP GENDER ISSUES
closed for the current year Northern Fall 2020 Production
or if there is more than one (date to be announced)
Projects must meet one of the follow-
deadline, the expected dates FUNDING AMOUNT
ing two criteria: Credit a writer and

according to the previous USD 25,000

year’s calendar are included.
The range of the grant amounts
and the currency are included.
Please note that some grants
may be subject to taxation.
director who identifies as a woman; Post-production
or credit a writer or director who
SUBMISSION FEE
identifies as a woman and include
a protagonist who identifies as a
USD 80 – 150 woman. To apply for the Fund, the Distribution
filmmaker must have completed 90%
of principal photography and have a
rough cut at the time of application.
You don’t have to be a Women In Film
member to apply, and Non-English These labels are used to highlight
language submissions must have En-
relevant information that is
womeninfilm.org/programs/film-fin- glish subtitles included on the rough
ishing-fund/ cut at the time of submission. already included in the card
(e.g. Social Issues, Gender Issues,
Ethnic Groups, 1st or 2nd Work,
Co-Production)

Direct link to the fund’s web page. Additional information together

with some useful tips are included.
 ORGANISER: CNC (CENTRE NATIONAL DU CINÉMA ET DE
L’IMAGE ANIMÉE DE FRANCE), INSTITUT FRANÇAIS

AIDE AUX CINÉMAS DU MONDE

The Aide aux Cinémas du monde is a selective funding aimed at foreign feature-length
film projects that are seeking support from French co-producers and is granted as a
subsidy either before (Production) or after completion (Post-Production) of the film.
The fund has four calls for entries per year for Production and another four calls per
year for Post-Production. Finishing fundings are only applicable to projects rejected at
the pre-filming stage, and in both cases 50% of the money should be spent on French
territory.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F D A
WHO CAN APPLY?
The application must be presented by STAGE
a co-production company registered in
France

YEAR OF CREATION
2012
COPRODUCTION
DEADLINE(S)
Production: August 31 - Sept 4, 2020;
Nov 30 - December 4, 2020; March,
2021*; June, 2021*.
Post-Production: September 7 - 11,
2020; November 23 - 27, 2020; Commis-
sion 4, 2020 (dates tbc); May, 2021*
* Expected submission period
FUNDING AMOUNT
Up to EUR 250,000 (Production) and a
max. amount of EUR 50,000 (Post-Pro-
duction)
NO SUBMISSION FEE
This important fund is the emblem of
France’s cooperation within the glob-
al film industry and also offers sup-
port for post-production. It features
two main categories: first or second
films, and projects by experienced di-
rectors. The documents for the appli-
cation have to be all in French. “Todos
os mortos” de Caetano Gotardo and
Marco Dutra, “Casa de Antiguidades”
de João Paulo Miranda Maria, and
“Bacurau” by Kleber Mendonça Filho
are among the awarded projects.

cnc.fr
 ORGANISER: ALTER-CINÉ FOUNDATION

ALTER-CINÉ DOCUMENTARY
FILM GRANTS
The Foundation supports young film and video makers to direct a documentary film on
the theme of rights and freedoms, including social and economic rights, women’s rights,
and the right to culture and artistic creation. The Foundation particularly supports doc-
umentary films that “dare to go against the tide, that take the side of the defenceless
and question common assumptions by giving a voice to the voiceless, enriching our un-
derstanding of the world and helping us reflect on the possibility of changing the world
from a perspective of peace, justice, equality and respect for differences.”

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + Africa, Asia and Latin American D
Countries

STAGE
WHO CAN APPLY?
Young filmmakers born and living in
Latin America, Africa or Asia

YEAR OF CREATION
2000

DEADLINE(S)
This is a fund that seeks to support
August 15, 2020
emerging filmmakers to express
their realities. In the past 19 years,
FUNDING AMOUNT
76 filmmakers, including 40 women,
USD 3,700 - 7,400
have received grants to assist in the
production of their documentaries.
NO SUBMISSION FEE Despite the usual presence of Latin
American works, only one project
from Brazil has been supported by
Alter-Ciné until now: the mid-length
collective documentary “Meu pri-
meiro contacto” by Mari Corrêa and
Kumaré Ikpeng (Video nas Aldeias
and Zarafa Films, 2004.)
altercine.org/index_en.php
 ORGANISER: CATAPULT FILM FUND

CATAPULT FILM FUND

Catapult provides early funding to documentary filmmakers who have a compelling
story to tell. The funds must specifically be used for the process of completing a fund-
raising piece “to help unlock critical production funding.” In addition to the initial devel-
opment grant, recipients have access to a mentorship program in areas including story
development, production process, fundraising, and distribution strategy, as well as to
an additional financial support (Momentum grants and Consulting grants.)

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D A O
WHO CAN APPLY?
STAGE
Filmmakers

YEAR OF CREATION
2010

DEADLINE(S)
Applications are accepted on
a rolling basis
As its name implies, this fund seeks
to catapult documentary projects
FUNDING AMOUNT
at an early stage --when funding is
USD 5,000 – 20,000
hard to find-- to their “next level”.
Applicants should preferably have
NO SUBMISSION FEE previous film or television produc-
tion experience. Catapult supported
films can range widely in style and
scope. Documentaries should be 28
minutes or longer. The fund is open
to animation and Documentary/nar-
rative hybrids that will be considered
on a case-by-case basis. A US based
501(c)(3) fiscal sponsor is needed to
catapultfilmfund.org obtain the grant.
SÃO MUITAS HISTÓRIAS, MUITAS TRILHAS E MUITAS CORES
MUITOS AMORES, MUITAS DORES, MUITOS FULGORES.
A SUA VASTIDÃO NOS INSPIRA, NOS RECRIA E NOS ENSINA
VIAJA, DESBRAVA, CONQUISTA
ELE EXISTE, PERSISTE, RESISTE
ASSIM É O CINEMA DO BRASIL.

ASSOCIE-SE
Há 15 anos promovendo a internacionalização cinemadobrasil.org.br
do cinema brasileiro no exterior. @cinemadobrasil

SO MANY STORIES, SOUNDTRACKS, COLOR FINISHING

A LOT OF LOVE STORIES, PAINFUL ONES, BRIGHT ONES
THE MAGNIFICATION INSPIRES, RECREATES AND TEACHES US
TRAVEL, UNFOLD, CONQUER
CINEMA LIVES, PERSEVERE, HANG IN THERE
SO IS CINEMA DO BRASIL.

JOIN US AT
cinemadobrasil.org.br Supporting and promoting the
@cinemadobrasil Brazilian film industry abroad for 15 years
 ORGANISER: CINEREACH FOUNDATION

CINEREACH FILM GRANT

Based in New York, this nonprofit film foundation was created by young filmmakers,
philanthropists and entrepreneurs “to champion vital stories artfully.” The foundation
seeks to work with both unknown and established filmmakers who may face creative, fi-
nancial or systemic obstacles to realizing ambitious visions. In addition to its Film Grant,
Cinereach has other programs and initiatives (Fellowships; Producer Award), and sup-
ports other film development organizations such as the Sundance Institute.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F D O
WHO CAN APPLY?
STAGE
Filmmakers and Producers

YEAR OF CREATION
2006

DEADLINE(S) SOCIAL ISSUES

Rolling basis

To date, Cinereach has given grants

FUNDING AMOUNT
to over 200 fiction and non-fiction
Not Defined. Depends on the needs of
films “crafted for the big screen”, in-
each project.
cluding “Democracia em Vertigem”
by Petra Costa. The foundation cre-
NO SUBMISSION FEE ated its own film production compa-
ny (Cinereach Production) in 2012,
and since then have developed, pro-
duced, co-produced and/or financed
over 15 films.

cinereach.org/film-grants
 ORGANISER: FORD FOUNDATION

FORD FOUNDATION JUST FILMS

With a clear emphasis on social justice storytelling, this global program supports inde-
pendent artist-driven documentaries and emerging media projects that “explore timely
social justice issues, with a focus on reducing inequality.” The Fund also supports or-
ganizations and networks that help to develop these projects, and seeks to “amplify
voices and illuminate perspectives often ignored, overlooked, or silenced by culture,
including people of color in the United States and those from the Global South.” The
Ford Foundation has offices in Rio de Janeiro, but they are currently closed because of
the coronavirus crisis. The Ford Foundation has offices in Rio de Janeiro.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D O
WHO CAN APPLY?
STAGE
Filmmakers / Organizations

YEAR OF CREATION
2011

DEADLINE(S) SOCIAL ISSUES

Rolling basis

JustFilms has recently supported

FUNDING AMOUNT
Brazilian projects “Democracia em
No data available
Vertigem” by Petra Costa, “Na Pele”
by João Inada (VR documentary), and
NO SUBMISSION FEE
“The Falling Sky: Words of a Yanoma-
mi Shaman”, by Aruac Productions
(these two latter were awarded with
a 100,000 dollars grant each.) Please
note that JustFilms also supports re-
grant funds at the Sundance Institute
Documentary Film Program, as well
as at the Tribeca Film Institute New
Media.
fordfoundation.org/work/our-
grants/justfilms
 ORGANISER: HUBERT BALS FUND

HUBERT BALS FUND - SCRIPT

AND PROJECT DEVELOPMENT
The Hubert Bals Fund (HBF) of International Film Festival Rotterdam (IFFR) is designed to
help “remarkable or urgent feature films by innovative and talented filmmakers” from a
list of 150+ eligible countries on their road to completion. HBF’s Script and Project Devel-
opment Support has two sub-categories: Bright Future for first and second-time filmmak-
ers; and Voices for filmmakers more advanced in their career. Grants can be used for the
further development of a script (e.g. research, writing, translation or hiring a coach or
script consultant) and to present a project to financiers or other potential partners.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + Countries from Latin America, F
Asia, The Middle East, Africa and parts
of Eastern Europe
STAGE

WHO CAN APPLY?

Filmmakers with a film treatment

YEAR OF CREATION
1988

DEADLINE(S)
HBF Script and Project Development
Bright Future: August 1, 2020; March 1,
2021. HBF Script and Project Develop-
ment Voices: September 1, 2020; April 1,
2021.
FUNDING AMOUNT
EUR 10,000 (Max. per project)
NO SUBMISSION FEE
iffr.com/en/hbf-script-project-devel-
opment-support
This fund specializes in narrative fea-
ture films, and generally speaking,
the type of projects that supports are
in line with the type of films that are
screened at the IFFR. After their com-
pletion, projects have a good chance
of receiving further support from the
HBF (Co-production and Post-Pro-
duction). André Novais Oliveira,
Marcelo Caetano, Juliana Rojas, Ri-
cardo Alves Jr. and Caroline Leone
are some of the Brazilian filmmakers
who have recently received support
from this fund.
 ORGANISER: SAN FRANCISCO INTERNATIONAL FILM FESTIVAL (SFFILM)

SFFILM RAININ GRANTS (SCREEN-

WRITING AND POST-PRODUCTION)
SFFILM champions the world’s finest films and filmmakers through programs anchored
in and inspired “by the spirit and values of the San Francisco Bay Area”. SFFILM Rainin
Grant, one of these programs, supports films that address social justice issues. Awards
are made to multiple projects twice a year, and the screenwriting and post-production
categories are available to international filmmakers.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F
WHO CAN APPLY?
STAGE
Screenwriter, Director or Producer

YEAR OF CREATION
2009

DEADLINE(S) SOCIAL ISSUES

October 5, 2020 (Opening)
The Screenwriting award can be used
FUNDING AMOUNT for cost of living expenses, research
Up to USD 25,000 (Screenwriting) / Up to and consultants, among others, and
USD 50,000 (Post-Production) includes a two-month residency in
the Bay Area. The screenplay must
SUBMISSION FEE explore issues pertaining to social jus-
USD 25 - 45 tice. The Post-production Grant sup-
ports films with an exceptional com-
mitment to social justice. Applicants
are asked to consider how they can
best both learn from and give back to
the Bay Area filmmaking community.
Brazilian films “Estrada para Livra-
mento” by Giuliana Monteiro, and “7
Slaves” by Alexandre Moratto were
sffilm.org/rainin-grant recently awarded.
 ORGANISER: WOMEN IN FILM (WIF)

WOMEN IN FILM -
FILM FINISHING FUND
Los Angeles’ based Women In Film (WIF) is a non-profit organization that “advocates for
and advances the careers of women working in the screen industries to achieve parity
and transform culture.” Through this fund, a select group of films—from any genre or
format—is awarded grants in cash and “in-kind” production services to complete projects
that fit the criteria of being by or about women. The Fund awards four grants per year.
Since its inception in 1985, the Film Finishing Fund has awarded over two million dollars
to 280 films from all over the globe.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F D O
WHO CAN APPLY?
STAGE
Directors who identify as a woman

YEAR OF CREATION
1985

DEADLINE(S) WIP GENDER ISSUES

Northern Fall 2020
(date to be announced)
Projects must meet one of the fol-
lowing two criteria: Credit a writ-
FUNDING AMOUNT
er and director who identifies as a
USD 25,000
woman; or credit a writer or director
who identifies as a woman and in-
SUBMISSION FEE clude a protagonist who identifies as
USD 80 – 150 a woman. To apply for the Fund, the
filmmaker must have completed 90%
of principal photography and have a
rough cut at the time of application.
You don’t have to be a Women In Film
member to apply, and Non-English
language submissions must have En-
womeninfilm.org/programs/film-fin- glish subtitles included on the rough
ishing-fund/ cut at the time of submission.
 ORGANISER: THE NEW YORK TIMES

OP-DOCS

Op-Docs is the world’s premiere short documentary series, comprising short, interac-
tive and virtual reality documentaries. The goal of each Op-Doc is to use a creative visual
approach to present a story, an individual, an argument or a point of view — and to
spark a conversation among The New York Times global audience. The selected films
are typically five to 10 minutes.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D O
WHO CAN APPLY?
STAGE
Filmmakers and Producers

YEAR OF CREATION
2011

DEADLINE(S) SHORT VR PITCH

Rolling basis
A synonymous with journalistic ex-
PRIZES cellence, the New York Times has
Most projects receive a modest stipend launched this series of short docu-
OTHER OPPORTUNITTIES

paid upon publication. Once the project mentaries that ensures its directors
is selected, funding possibilities are great international visibility. They
discussed. accept both new works and adapta-
tions from longer projects (wheth-
NO SUBMISSION FEE er works-in-progress or completed
films), but they publish neither ex-
cerpts nor cut-downs nor trailers. Af-
ter the application is submitted, the
project must be pitched. To grasp the
type of works they are looking for, it
is advisable to explore their collec-
nytimes.com/2018/04/30/opinion/ tion where you will find the Brazilian
about-op-docs.html “Kite Fight” by Gui Tensol.
 ORGANISER: SHORE SCRIPTS

THE SHORE SCRIPTS

SCREENWRITING CONTEST
Shore Scripts seek to help emerging screenwriters break into the industry. This organ-
ization specialized in discovering and developing writers for film and television holds a
number of contests that span from features in seven different genres (Action, Adven-
ture, Comedy, Drama, Family, Sci-Fi, Thriller & Horror) to TV Pilots (1/2 and 1 hour) and
Short films. The best scripts will be read by the company’s roster of 100+ Production
Companies, Agents, Managers, and 70+ Directors.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F S A O
WHO CAN APPLY?
STAGE
Screenwriters and teams of
screenwriters

YEAR OF CREATION
2012
TV PILOTS CONTEST
DEADLINE(S)
July 31 (regular), August 31 (late)
Through initiatives such as contests,
consulting, first look of projects, and
PRIZES
script analysis, these kind of organi-
OTHER OPPORTUNITTIES

USD 10,000 (Features) / USD 5,000

zations can offer a shortcut to reach
(TV Pilots)
the “major leagues”, as well as a good
opportunity to know how the indus-
SUBMISSION FEE try works in the US. With the regis-
USD 55 (Standard) tration fee of each script, you can
choose to request an analysis (script
coverage) service that has an addi-
tional cost depending on the kind of
analysis that is done.

shorescripts.com
Brazilian Content is a project that fosters the export and promotion of audiovisual content made by
Brazilian companies. The project is focused on the improvement and growth of Brazilian companies, it
expedites the access to content markets and festivals, offers exclusive training programs and consul-
tancy, and access to business intelligence reports. Brazilian Content represents 178 companies from
all over Brazil and was created in 2004, in a partnership between Brasil Audiovisual Independente, the
Brazilian Trade and Investment Promotion Agency (Apex-Brasil), and the Audiovisual Secretariat of the
Ministry of Culture.

Cinema do Brasil aims to reinforce and expand the participation of Brazilian audiovisual productions
in the international market, to encourage the development of co-productions and the distribution of
Brazilian films abroad. It is an export program implemented in 2006 by the São Paulo’s Audiovisual
Industry Guild - SIAESP.

Projeto Paradiso is an initiative of the Olga Rabinovich Institute that provides high–value support mech-

anisms for Brazilian talents in the audiovisual sector, with a focus on fiction films and series that con-
nect with their audiences. We invest in professional training and capacity building through fellowships,
mentoring programs, workshops, seminars and studies, nurturing a network of professionals in Brazil.
Focused on internationalization, we work through partnerships  with  well-known  institutions,  there-
by connecting national talent with training and business opportunities around the world.

LatAm cinema is the leading trade media platform covering the Latin American film industry. Aimed
at professionals and the general public, our website, newsletters, e-magazines, and social networks
provide relevant timely information to discover, promote and finance new projects and businesses.
Created in 2007 and based in Montevideo, our team of contributors is made up of industry insiders
based in different countries in the region.

Designed by Venado / Design for movies and film industry from Montevideo, Uruguay.
SHOW ME THE FUND #1
August 11th, 2020 / 11 de agosto de 2020
Aide Aux Cinémas Du Monde
Alter-Ciné Documentary Film Grants
Catapult Film Fund
Cinereach Film Grant
Ford Foundation Just Films SHOW ME THE FUND #2
Hubert Bals Fund Script and Project Development
Op-Docs
SFFilm Rainin Grants
(Screenwriting and Post-Production)
The Shore Scripts Screenwriting Contest
Women in Film - Film Finishing Fund

SHOW ME THE FUND #3 SHOW ME THE FUND #4

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www.showmethefund.co