#2

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: DOHA FILM INSTITUTE (DFI)

DOHA FILM INSTITUTE

POST-PRODUCTION FUNDING
The DFI has put Qatar on the international film map with the aim of “identifying new
talent, seeking out new cinematic voices and discovering universally resonant stories.”
Besides having a Grants Programme aimed at filmmakers from Qatar and the MENA
region, the Institute offers post-production grants to international first and second-time
non-MENA countries directors.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + non-MENA region countries F D
WHO CAN APPLY?
Directors and Producers STAGE

YEAR OF CREATION
2010

DEADLINE(S)
1st and 2nd FILMS
There are two grant submission cycles
annually, in January and July*

* 2021 dates not announced yet DFI’s post-production grants are one
of the few links between Middle East
FUNDING AMOUNT and Latin American film industries.
Up to USD 75,000 (Narrative); Up to USD “Deslembro” by Flavia Castro and
50,000 (Documentary) “Nardjes A.” by Karim Aïnouz are
among the Brazilian films that have
obtained post-production funding.
NO SUBMISSION FEE
The Ajyal Film Festival, organized by
the Institute, contributes towards the
films’ visibility within the region.

dohafilminstitute.com/financing/
grants/guidelines
 ORGANISER: SCREENCRAFT/BONDIT MEDIA CAPITAL

SCREENCRAFT FILM FUND

Los Angeles based ScreenCraft awards talented filmmakers two production grants per
year. They are looking for narrative features, short films and TV pilot series scripts, as
well as documentaries, and documentaries that “display originality, vision & exceptional
potential.” They consider a range of projects, “from standalone screenplays, to fully
packaged projects seeking finishing funds.”

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F D S O
WHO CAN APPLY?
STAGE
Writers, Directors and Producers

YEAR OF CREATION
2020

DEADLINE(S)
February 28 (Early); April 30 (Final), 2021 *

* Dates to be announced ScreenCraft is a consultancy firm that

holds from writing competitions and
FUNDING AMOUNT e-courses, to funds such as this one,
USD 5,000 - 30,000 per grant organized jointly with BondIt Media
Capital, a film, television and media
SUBMISSION FEE financier. Together with the script in
USD 49 (Early deadline) / USD 59 (Regular English, applications must include a
deadline) Cover Letter expressing your vision
for your project.

screencraft.org/fund
 ORGANISER: FESTIVAL AGENCY FOUNDATION/FILMS FROM
THE SOUTH AND THE NORWEGIAN FILM INSTITUTE

SØRFOND – NORWEGIAN
SOUTH FILM FUND
Sørfond’s overall objective is to “promote film as a cultural expression, encourage diver-
sity and artistic integrity, and strengthen freedom of speech in developing countries, as
well as to enhance cooperation between the Norwegian and international film indus-
tries.” Annually, the Fund supports 6 – 10 international co-productions with Norwegian
minority producers on board.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + 84 countries F D
WHO CAN APPLY?
STAGE
Norwegian minority producer

YEAR OF CREATION
2011

DEADLINE(S) CO-PRODUCTION
March 2021*

* Dates to be announced Having a co-production agreement

with a Norwegian minority produc-
FUNDING AMOUNT er and at least 50% of the budget
Up to USD 110,000 per project already confirmed is compulsory to
apply for this Fund. The Fund holds
NO SUBMISSION FEE exclusive rights to the supported
films’ Scandinavian premiere. Brazil-
ian “Divino Amor” by Gabriel Masca-
ro is among the 54 projects awarded
to date by the Fund.

sorfond.no
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: SUNDANCE INSTITUTE DOCUMENTARY FUND & SANDBOX FILMS

SUNDANCE SANDBOX FUND

The Sandbox Fund offers grants, engagement events, and other opportunities for in-
dependent artists seeking to explore the intrinsic link between science and culture
through innovative storytelling. The program is a partnership between the Sundance
Institute Documentary Fund and the documentary studio Sandbox Films.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D
WHO CAN APPLY?
STAGE
Directors

YEAR OF CREATION
2018

DEADLINE(S)
The Fund operates on an open and
rolling application process. Grant-making
decisions occur up to three times per
year. Next funding cycle opens on August
27, 2020
FUNDING AMOUNT
Development (USD 10,000 - 25,000); Pro-
duction (USD 35,000 - 50,000); Post-Pro-
duction (USD 30,000 - 50,000)
SCIENCE
This Fund supports nonfiction proj-
ects that “inspire a deeper interest in
science.” Selection criteria emphasiz-
es creative narrative techniques and
projects that highlight diversity in sci-
ence, specifically those that feature
characters, topics, or disciplines that
broaden and redefine what it means
to be a scientist or to do science.

NO SUBMISSION FEE

sundance.org/sandbox-fund
 ORGANISER: WHICKERS WORLD FOUNDATION

THE WHICKERS FILM & TV

FUNDING AWARD
As part of the Foundation’s mission to fund and recognise original and innovative doc-
umentaries, The Whickers Film & TV Funding Award supports documentary talent “to
take the first step up a ladder which is increasingly difficult to climb.” It must be the
filmmaker’s first 50+ minute documentary film. The two winners are chosen from the
six short-listed projects to be pitched at the Sheffield Doc/Fest Online.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D
WHO CAN APPLY?
STAGE
Directors

YEAR OF CREATION
2015

DEADLINE(S)
October 2020*

* Dates to be confirmed This is one of the most significant

documentary awards in the world.
FUNDING AMOUNT Projects must be at the late develop-
USD 105,000 (First prize) and USD 20,000 ment to early production stage at the
(Second prize) time of applying, and the application
must be submitted together with up
to 6 minutes of original taster foot-
NO SUBMISSION FEE age. The organizers emphasize their
interest in stories based on engaging
characters in unusual or inaccessible
locations.

whickerawards.com/apply/film-and-tv
 ORGANISER: ROGOVY FOUNDATION

THE MILLER / PACKAN FILM

FUND
This Fund provides grants to feature-length non-fiction projects that “address social
issues and inspire others”, and help “open our eyes through a strong premise, critical
thinking, detailed analysis and competing views.” The Fund’s subject categories are Ed-
ucation, the Environment and Civics.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries D
WHO CAN APPLY?
STAGE
Directors

YEAR OF CREATION
2016

DEADLINE(S) SOCIAL ISSUES

Submissions are accepted on an open
call basis. Awards are announced bi-an-
nually (January and June)
FUNDING AMOUNT
Up to USD 15,000 (Development) / Up to
USD 25,000 (Production and Post-pro-
duction)
NO SUBMISSION FEE
Though the Fund is open to interna-
tional applicants, the link with Latin
America and Brazil film industries is
rather weak. The organization points
out that the project must have global
audience appeal, extending beyond
the film’s location. They accept an-
imation films, and non-English lan-
guage films must include English
subtitles. The project must have IRS
501(c)(3) status or a Fiscal Sponsor.

rogovy.org/film-fund/overview
 ORGANISER: FIRELIGHT

WILLIAM GREAVES
This grant is aimed at mid-career nonfiction filmmakers from racially and ethnically
underrepresented communities (indigenous and/or of African descent). Named after
William Greaves -considered the father of Black nonfiction cinema-, these grants seek
to support research & development during the pre-production stage.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + United States, Mexico, Puerto Rico, D
and Colombia

STAGE
WHO CAN APPLY?
Directors

YEAR OF CREATION
2020
ETHNICS GROUPS

DEADLINE(S)
March-April 2021 *
Brazil is one of the five countries in
* Dates to be confirmed which this new Firelight Media initia-
tive -producer of documentary films
FUNDING AMOUNT that supports emerging filmmakers
Up to USD 25,000 of color in the US- is focused. It of-
fers support to filmmakers with “an
NO SUBMISSION FEE established track record of nonfic-
tion cinema works, including but not
limited to the completion of 2 feature
length documentaries to date.”

firelightmedia.tv/william-greaves-fund-1
 ORGANISER: AMERICAN ZOETROPE

AMERICAN ZOETROPE SCREEN-

PLAY COMPETITION
Its aim is to seek out and encourage compelling new narratives for the screen, and
to introduce the next generation of great screenwriters to leading production compa-
nies and agencies. The competition considers feature-length film scripts as well as pi-
lot scripts for television/streaming services. Professional readers carefully review each
script, and Francis Ford Coppola selects a winner from among the ten finalists.

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F S D
WHO CAN APPLY?
STAGE
Writers

YEAR OF CREATION
2003

DEADLINE(S) COMPETITION
September 1, 2020

The scripts of all top ten finalists are

FUNDING AMOUNT
sent by Francis Ford Coppola’s Zoe-
USD 5,000 (Grand Prize)
trope to production companies and
OTHER OPPORTUNITTIES

talent agencies for consideration.

SUBMISSION FEE
They are looking for “screenplays
USD 40 (Early deadline) / USD 50 (Final with the best stories and execution,
deadline) regardless of genre or budget re-
quirements.” Submissions should be
in the U.S. Motion Picture industry
standard screenplay format.

zoetrope.com/contests/screen-
plays-2020
 ORGANISER: PBS (PUBLIC BROADCASTING SERVICE)

POV (POINT OF VIEW)

POV is US television’s longest-running showcase for independent nonfiction films. It

premieres 14-16 feature-length and short documentaries every year through the Public
Broadcast System (PBS)’s 350 member television stations, as well as through streaming.
POV films are known for “their intimacy, their unforgettable storytelling and their time-
liness, putting a human face on contemporary social issues.”

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

YEAR OF CREATION
1988

DEADLINE(S) ACQUISITIONS SOCIAL ISSUES

Submissions accepted on a rolling basis

By means of acquisition, POV is ope-

FUNDING AMOUNT
ned to finished works -completed or
Not determined
fine cuts- released within the past
OTHER OPPORTUNITTIES

four years. They should have English

NO SUBMISSION FEE
subtitles. The programme also consi-
ders shorts and films still in produc-
tion or development. POV’s program-
ming team is continually scanning
projects in markets, festivals, and
other industry events.

cfe.pov.org
 ORGANISER: THE FUTURE OF FILM IS FEMALE (FOFIF)

THE FUTURE OF FILM IS FEMALE

FOFIF’s provides financial and promotional support to women short filmmakers as a

first step to “increase the representation of women’s voices in the industry.”

PROJECT/GENRE
ELIGIBLE COUNTRIES
Brazil + all countries F D
WHO CAN APPLY?
STAGE
Women directors

YEAR OF CREATION
2018

DEADLINE(S) SHORTS WOMEN

September 7, 2020

In spite of offering limited financial

FUNDING AMOUNT
assistance, FOFIF support can also
USD 36,000 (In kind – Post-Production
act as a valuable springboard regard-
OTHER OPPORTUNITTIES

services); Individual grants from USD

500 – USD 1,000 on a quarterly basis.
NO SUBMISSION FEE
ing production, theatrical (MoMA se-
ries) or streaming release through
their own online channel. Shorts
should be no longer than 20 minutes
and all genres are accepted, includ-
ing horror and sci-fi.

futureoffilmisfemale.com/submit
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
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 #2
August 27th, 2020 / 27 de agosto de 2020
Doha Film Institute Post-Production Funding
Screencraft Film Fund
Sørfond – Norwegian South Film Fund
Sundance Sandbox Fund
The Whickers Film & Tv Funding Award
The Miller / Packan Film Fund
William Greaves
American Zoetrope Screenplay Competition
POV (Point Of View)
The Future Of Film Is Female

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

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