[1.1] General Supported by VicScreen, the MIFF Premiere Fund co-finances new quality Australian feature narrative and documentary films that will premiere at the Melbourne International Film Festival (MIFF). The Fund is a strategic minority supporter of a range of films and seeks diversity of filmmaking teams and genres of films on the slate. Eligible projects are assessed on a range of factors as per the General Assessment Criteria (below).
[1.2] Content MIFF Premiere Fund seeks quality theatrical films that will premiere, and then have repeats, at MIFF, as well as playing in MIFF ancillary travelling/special events and will be suitable for Encore screenings at future editions of MIFF. The Premiere Fund is keen for quality cinema that will find its audience – with its MIFF premiere season a key part of this. To date the Premiere Fund has supported more than 100 films and the past slates can be found here.
[1.3] Process The Premiere Fund operates via a system of Calls for Submissions in Rounds. Each Round seeks different types of projects to allow the Fund (which is administered on a part-time basis to keep costs low and thereby ensure maximum money can be distributed to filmmakers) to prioritise the flow of applications in the order that projects may realistically make it to the big screen in time for a MIFF premiere and to build a pipeline of original content for MIFF. Therefore, it is important for applicants to submit to the correct Round for which their project is eligible with a completed application form and the required support materials.
In the application form, each project and each applicant must satisfy the eligibility requirements and address the assessment criteria. Applicants are advised to provide as much as possible of the information and support materials sought on the application form as the form outlines the information that the Fund takes into account when making its decisions. Once it is determined that the eligibility criteria have been met, each project is then evaluated against the assessment criteria. Finally, a short list of projects is then considered for funding and each shortlisted project is then assessed competitively against the other shortlisted projects.
These Guidelines will be subject to fine-tuning for each round in recognition of changing operational contexts for the Fund.
Depending on the specifics of each Round, projects can seek one of the below supports from the MIFF Premiere Fund, as follows:
The Fund is keen to support a wide range and number of projects for Premiere at MIFF and, therefore, the amounts of its funding awards (which may vary at the discretion of MIFF) will be modest strategic interventions. Such funding supports will generally be for a minority of the budget and MIFF will take into account the financial viability of the financing plan. MIFF will also consider what other sources of funding may be available to applicant projects and if the project has applied to those potential co-financiers in addition to MIFF’s Premiere Fund. NOTE: MIFF does not provide retrospective funding for production expenses already incurred.
As per above, Premiere Fund support may take the form of a loan or equity investment. However, given that this is a limited Fund which seeks to benefit as many projects as possible, all amounts are recoupable (pro rata with other investments including those by the producers) so that returns from successful films can be reinvested in future projects. Priority will be given to those films able to premiere by MIFF 2026 with recognised marketplace attachments that can unlock, or trigger, other Government equity co-investments and incentives. All funding rounds will be competitive with creative and financial matters assessed in the context of the other projects also applying for funding in the same Round.
Each eligible application is assessed by the Premiere Fund team, under the system described above in section 1.3, who then formulate recommendations for consideration by the MIFF Board Premiere Fund Sub-Committee. The team then communicates the Sub-Committee’s final determinations (which are ratified by the Board) on applications for Support. The Fund does not disclose the reasons for the Sub-Committee’s decisions, which are final and not subject to appeal.
[5.1] The following are requirements for an eligible application for Support from the Fund:
(a) Projects must be an Australian feature film (narrative or documentary) of at least 80 minutes intended for theatrical release which demonstrate in their financing plans and shooting schedules that they will be completed in time to premiere at MIFF 2026.
(b) Applications must have the written agreement (by way of signing the holdback forms here) from their Australian/NZ distributor, and/or world sales agent, and/or TV broadcaster(s)/streamer(s) that the Film will not screen or be promoted in any form prior to the expiry of the MIFF Premiere Period (see section 7.1 of these Guidelines). Alternatively, if you don’t yet have these marketplace attachments (e.g. ANZ distributor or streamer etc.), the producer will need to sign the provided holdback form undertaking to ensure that all deals with end-users will ensure the Premiere (screening and promotional) holdback for MIFF. If the form is not signed by these parties, the application is not eligible.
(c) Applications must include shooting (and/or post-production) schedules clearly demonstrating that the project can meet MIFF’s delivery deadlines for MIFF 2026, as well as financing scenarios that demonstrate all anticipated funding can be unlocked to allow production to commence in time for such delivery to occur (for example, that Government investments requiring a presale to trigger them have that presale in place).
(d) Applications must be lodged by a producer (*) who is an Australian citizen/permanent resident based in Victoria, who will be signatory to the subsequent long-form contracts/PIA and who will receive a producer credit on the final production (*NOTE: MIFF Premiere Fund does not co-finance student films).
(e) Applications that include as much detail as possible on the terms and nature of recognised marketplace distribution and sales attachments will receive priority.
(f) Where the Film is eligible to apply to one or more State-based Screen Agencies for support, the project should generally have applied and have yes/no production investment decisions from those State-based Screen Agencies prior to submitting the Premiere Fund application.
(g) Where the project is a feature documentary that has the Screen Australia Producer Program Fund in its financing plan, applicants should provide evidence of an investment decision or confirmation that it has been accepted for assessment.
(h) Applicants must have a letter of intent from a Completion Bonder. It is the Premiere Fund’s strong preference that projects have a completion bond in place to ensure delivery occurs in time for MIFF in the year of a project’s intended premiere. In limited circumstances, usually for documentary projects, requests for a waiver to this requirement may be considered. Note: decisions around any completion bonder waivers are at the absolute discretion of the Premiere Fund Committee.
(i) Applicants must have, or plan and budget to have, E&O Insurance (including title cover).
(j) By submitting the application form, you are confirming that all applicants have read and agreed with the information therein.
(k) The project must not already be in receipt of a screening invite from MIFF.
In addition to the General Eligibility (as per above) and eligibility criteria specific to each of the Rounds, the following General Assessment Criteria will inform the Premiere Fund’s deliberations on a project. Each application should address the General Assessment Criteria below to offer a convincing case for consideration. Note: The order of listing the Criteria does not indicate an order of priority and the sample open questions below are provided to offer applicants a suggested framework for writing their submission.
[6a] Creative: Quality & Development: Deliberations may include the following types of questions: Is this a project that announces a must-track creative team? Is it an important development of an existing filmmakers work? Does the project offer an important insight for Melbourne audiences – is it uncovering something new or finding an interesting way of traversing more familiar material? How is the project extending or (re-)interpreting the cinematic form? What is the core audience niche – is it a niche that is presently under-catered for? Or perhaps the appeal is that the project is presented in a way that offers wide appeal to important material? The film will be of a similar standing and quality to what other local and international films? How will the film differ to other completed Australian films presented at MIFF – what makes this a Premiere Fund film? In the case of documentary enhancement proposals, is the case made with fully set out treatment (or assembly) evidencing the need for (and story structure of) a longer length (than a standard TV hour) and the viability of a theatrical release – will it have that theatrical quality of Boys State, Mad Hot Ballroom, Cane Toads, Capturing the Friedmans, Buena Vista Social Club, Who Killed the Electric Car, Bowling for Columbine, Sicko, Some Kind of Heaven, The Cream will Rise, Outfoxed, Rats in the Ranks, Fahrenheit 911 etc?
[6b] Audience & Programming at MIFF: Deliberations may include the following types of questions: What is the target audience for the project – how well does the project cater to its niche? Where could it play in the Festival? Will it be suitable for multiple screenings at MIFF? (And why?) Will it work well for MIFF’s travelling festival/special events? (And why?) Will the project have an evergreen quality making it suitable for Encore screenings at future MIFFs? (And why?) The film will attract similar audience niches to what other films of recent years? (Give examples?) How will the project enhance and enrich the Festival-going experience as a Premiere Fund supported project (versus a regular Australian film showcased at MIFF)? Are there opportunities for extra MIFF activities to tie-in with the Film’s MIFF debut as a Premiere Fund title (above and beyond Q&As which occur in the normal course of events anyway)? Is MIFF guaranteed the film’s premiere as evidenced by letters from distributor/sales agent/TV broadcaster agreeing to holdback all other exhibitions of the film? (Note: Regardless of Premiere Fund support, the final decision on whether to program the film and in which slot rests solely with MIFF’s Programmers and this is a separate decision in the context of programming for the festival from the determination to support the financing of the film.)
[6c] Viability: Financing Plan & Budget: This area examines if the financing plan, as presented, is viable in terms of the production receiving MIFF Premiere Fund support and then being able to proceed promptly into production using those funds and the funds of all co-financiers identified in the financing plan. A key issue will be if all elements are in line to offer a realistic chance to trigger, or unlock, other elements identified in the financing plan. Other key concerns will be to establish that the submitted budget is realistic and has all the required insurances, legals, bond, deliverables correctly provided for. Therefore, deliberations may include the following types of questions: Does the financing plan and supporting documentation demonstrate that there is already a high level of finance in place for the project making it more likely to meet the Premiere timeline? Are the terms of existing finance competitive to allow for other investors to comfortably join the financing plan without causing a delay that could jeopardise either MIFF’s recoupment potential or, most of all, the schedule and endanger the Premiere timelines? For elements of the financing plan yet to be secured, are those aspirations and expectations realistic (track record of applicant in co-financing)? Can existing elements of the financing plan be easily unlocked to allow production to occur in a timely fashion (for example, are presales in place to unlock an anticipated Government Screen Agency support where that Agency’s guidelines require such presales?) Does the financing plan provide a convincing picture of a project that is finance-able within the required time frame? Does an equity investment application have distribution/sales/other equity attachments on reasonable terms with a collections agreement? Is the budget realistic relative to the subject matter, potential audience appeal and talent attached? Can the project realistically be made to a quality standard with the budget? What is the recoupment potential relative to budget, subject matter and talent? Is the budget in line with the value of the project relative to the sales estimates and subject matter? Will the project qualify for the Producer Offset and, if so, what will the Qualifying Australian Production Expenditure (QAPE) be? Does the budget have adequate contingency? E&O? Indemnities? Legals? Completion Bond? Collections Agent? Clearances?
[6d] Balance of Slate: Creative & Financial: Deliberations on this point will consider the range of applications to the Fund in terms of narrative/documentary, genres, filmmaking teams, themes and budget levels with an aim to support a diverse pipeline of quality content. In deliberating on the amount of Support requested by a project, MIFF will take into account the amount of money remaining in the Fund and the number of overall likely applicants for Support with a view to offering support to a wide number and range of projects. So, in essence, this criterion examines how the applicant’s project fits in with the Premiere Fund slate. Applicants can address these matters by stating what is important about supporting the genre of film they are applying with (is it an under-served genre for example? Or a very popular one?), by demonstrating clearly the specific need for the requested amount, and by highlighting the financial impact strategic minority funding by MIFF would have on the project (see also Additionality below). Applicants can also make a case under this criterion by considering the Premiere Fund’s slate to date (see section 1.2 of these Guidelines and also the highlights reel) and offering a case as to where their project fits in the slate.
Also, as the Fund’s prior slate demonstrates, the Fund has a strong interest in and commitment to ‘Stories that need telling’; this includes strongly-authored big stories touching on pressing issues in creative ways (be that narrative drama or feature documentary). The Fund’s ‘Stories that need telling’ are films that have something to say whether it be about the creative endeavour, social issues, historical events, children’s films, indigenous stories, diversity, etc. The Fund especially seeks content that shares the Fund’s values around inclusion and diversity – including participation by, and representations of, women, LGBTIQ+, First Nations peoples, Culturally And Linguistically Diverse (CALD) communities, disabled, regional and emerging talent. In making your case for support from the Fund, be sure to demonstrate that yours is a story that needs telling and how it aligns with, or adds to, the types of films supported by the Fund thus far.
[6e] Victorian – Characteristics & Impacts: The Premiere Fund supports Victorian projects and all applications must be made by Australian citizens/permanent residents based in Victoria with an ABN and GST registration, who will be a signatory to subsequent long-form contracts/PIA and will receive a producer credit on the final production. Retrospective funding is not provided. Projects must demonstrate strength of connection to Victoria. For Production and Completion applications, Victorian elements would include many or some of the following: Victorian origination and/or Victorian shooting and/or Victorian storyline and/or Victorian Post/Digital/VFX (PDV) and/or Victorian talent/labour/crew/expenditure.
Applicants must state what % of their budget will be spent in Victoria and what the leveraging factor of future Victorian spend against the MIFF Premiere Fund finance will be. NOTE: The project’s future Victorian spend should exceed, by some multiples, the amount requested from the Fund. Applicants are advised to address this point in some detail as the level of Victorian spend is a key consideration for the Fund and a major factor in the determination of the amount of funding awarded to successful applicants. Victorian spend should be greater than the amount requested from MIFF Premiere Fund and the leveraging factor of the future Victorian spend against the requested MIFF funding should be noted (as this is an assessment consideration). For example, if you will spend $900k in Victoria and are seeking $75k from the Fund, then your leveraging factor of spend versus funding is 12:1. In all cases, the higher the level of non-retrospective Victorian expenditure your project has, the higher the level of the project’s funding request from the Premiere Fund can be.
[6f] Additionality: Note: Applicants are advised to address this point in some detail as it is a central consideration for the Fund. Each finance award made by the MIFF Premiere Fund must clearly demonstrate that the finance awards made a demonstrable difference to creative and/or industrial and and/or audience & distribution outcomes that may not otherwise have occurred in the absence of the funding and that could not have been achieved from other existing finance sources. This is the issue of what “Additionality” MIFF’s Premiere Fund is making by offering a commitment to the project – what additional creative, financial, distribution, industrial outcomes are being added to, or enhanced, that otherwise may not occur in the absence of Premiere Fund support? “Additionality” also concerns a clear demonstration by applicants that Premiere Fund support is additional to other sources of co-financing rather than substituting for other sources of co-financing potentially available to the project. Therefore, deliberations by the Sub-Committee on the issue of Additionality may include the following types of questions: Does the application clearly demonstrate how Premiere Fund Support might make a difference to the project in creative choices? What will not occur for the project in the absence of support by MIFF Premiere Fund? Will the extra funding allow for superior creative choices? (In the case of enhancing TV documentaries to theatrical length, what merits the longer length and theatrical release and how will MIFF PF money assist this to occur?) Will the funding allow for superior Post/Digital/VFX (PDV) or an enhanced marketing campaign? Would the funding influence the choice (or retention) of shooting location or PDV in Victoria? Has the application demonstrated that all other avenues of potential co-funding are being explored (thereby ensuring that the amount sought from MIFF is at the most efficient level that it can be and that Premiere Fund money can be spread across the greatest possible number of projects and that PF money is additional to – rather than substituting for – other sources of finance potentially available to the project)? How will distribution outcomes be enhanced by Premiere Fund support?
In addition to any conditions of funding specific to any of the Rounds, the following constitute General Conditions of Funding for all projects in receipt of Premiere Fund support and by applying for Premiere Fund support you are agreeing to the following standard business terms in the event that your application is successful.
[7.1] Premiere holdback & MIFF exhibition rights: By applying to the Premiere Fund, the applicant producers agree (and certify that their distributors and sales agents will agree) that, in the event that the Premiere Fund provides funding support to the Film, the support will be entirely and fundamentally conditional upon MIFF securing cost-free screening rights of the Film as follows:
(A)
(i) Premiere Period: a Premiere screening during the 2026 Melbourne International Film Festival (“MIFF 2026”), with up to 4 repeat screenings in the course of MIFF 2026 and its associated events up to 14 days after the end of MIFF 2026 (the “Premiere Period”);
(ii) Travelling & Events Period: up to 9 screenings of the Film at MIFF Travelling & Special Screenings Events within 12 months of the start of MIFF 2026 (the “Travelling/Events Period”) *(this can include CinefestOZ should the film be selected and in consultation with the Producer). Note: Travelling/Events Period screenings outside the Premiere Period will be non-exclusive;
(iii) Encore Period: the right to screen the Film, as part of retrospective/encore seasons at future editions of MIFF events (the “Encore Period”) but only with the approval of the Producer or local distributor if applicable.
For clarity, the MIFF Screenings will not be exhibited in an online format except with the express permission of the Producer.
And the applicant further agrees to the following:
(B) For the avoidance of doubt, the Premiere Period runs the entirety of the period from delivery, which is typically no later than 01 June 2026, until 14 calendar days after the end of MIFF 2026.
(C) The Premiere Period will be the world premiere of the Film and will precede all screenings of the Film (excepting Government, investor or cast/crew screenings) in any form of media worldwide, whether theatrical or otherwise, including online.
The only exceptions will be screenings of the Film in selection for one of Sundance, Rotterdam, Berlin, SxSW (Austin), Hot Docs, Tribeca and Cannes (“Approved Festival”) in the year of MIFF premiere.
If selected for an Approved Festival, the Producer will notify MIFF immediately and consult in good faith with MIFF on the publicity and scheduling implications of such a selection. In the event of such selection, the Film will remain contracted to screen at MIFF 2026 and there must not be any further screenings prior to the Premiere Period except with the written approval of MIFF.
Note that the sales agent may organise private, in-person, non-ticketed, non-advertised market screenings for potential buyers prior to the Premiere Period for the purposes of selling the Film.
Notwithstanding the above, the Film must not be submitted to any film festival or event that may prevent or interfere with the exclusive screening and promotion rights in this clause (the “MIFF Rights”) without the prior written approval of MIFF.
(D) The advertising and promotional holdback runs until 1 day after the end of MIFF 2026. Accordingly, any advertising, marketing, promotion and publicity regarding non-MIFF events and screenings for the Film, in any territory, can only occur from 1 day after the end of MIFF 2026 subject to the exceptions in 7C above.
(E) The Producer agrees that MIFF has the right to advertise and promote the MIFF Screenings for up to 120 days prior to and during the Premiere Period and to use images of the Film in promotional campaigns for the Premiere Fund and/or the Melbourne International Film Festival. The Producer shall give MIFF access to all advertising and promotional materials that are available to other financial supporters of the Film to use for such advertising and promotional purposes.
(F) MIFF may secure sponsorship for any of the MIFF Screenings in consultation with the Producer. MIFF will be responsible for all costs of the MIFF Screenings of the Film and will be entitled to retain all revenue derived from such sponsorship.
(G) The holdbacks apply to all versions of, and all footage/materials shot for, the Film.
(H) It is understood and agreed that damages may not be an adequate remedy for a breach by the Producer (or its licensees) of any of the material provisions of this Agreement. The Producer acknowledges that MIFF may be entitled to seek equitable relief to prevent a breach of the Agreement by the Producer (or its licensees). Resort to such equitable relief shall not be construed as a waiver of any other rights or remedies which MIFF may have for damages or otherwise.
(I) The final decision to screen the completed PF film and in which (if any) slots (be that regular CBD or suburban slots, regional showcase, competition, gala, special events, or other) will be at the sole discretion of MIFF as will the nature of the promotion of the MIFF screenings of the PF film and the production’s entitlement to complimentary tickets
(J) The Producer must use best efforts to ensure that the director is available to participate in a MIFF Accelerator Lab 2026 session discussing creative aspects of the Film, as well as participating in Q&A sessions during the Film’s Premiere Period, and the Producer agrees to be available if requested to participate in film financing panels during 37°South Market 2026 subject always to the professional availability of the participants.
[7.2] The following Delivery Materials are to be delivered by 01 June in the year of MIFF premiere (unless earlier delivery is required under the bond agreement) and no sooner than 01 November in the year before MIFF premiere:
(a) 1x open (unencrypted) DCP in NTFS format, including files containing fully-descriptive closed captioning (for use by the deaf/hearing-impaired) and audio description (VI tracks, for use by the blind/visually- impaired) for use by MIFF in Access Screenings (an accessibility overview for DCP can be found here). The DCP to have a CPL that conforms to the Digital Cinema Naming Convention V 9.5; see here for further details. DCP can be 24 fps or 25 fps, but the fps must be the same as the ProRes.
(b) 1x open (unencrypted) Open Caption DCP, including fully descriptive captioning (for use by the deaf/hearing-impaired) that is displayed on screen. The Open Captions file will differ from Closed Captions as it doesn’t contain subtitle elements as they would conflict with those on screen. This can be supplied as a version file(VF) that works with the standard original version DCP(OV). The two DCPs should be on their own Drive – separate from all other delivery items on this list.
(c) 1x ProRes [HD QT HQ 4.2.2 file, 24 fps or 25 fps (but must be the same fps as the DCP), with 5.1 audio and stereo tracks] – as a backup exhibition format. The ProRes should be on its own Drive – separate from all other delivery items on this list.
(d) Password-protected Vimeo links to the film given to MIFF and to be operational from 01 June to the last day of the festival (with “Preview Only” burn if desired).
(e) 1x Trailer of the Film (with all clearances and able to be played on any platform) in web-res = 15,000kbps or higher, 1920 x 1080, H.264 video codec, AAC audio codec, stereo mix including files containing fully descriptive captioning (for use by the deaf/hearing-impaired)
(f) 1 x fully audio-described Trailer of the Film (with all clearances and able to be played on any platform) in web-res = 15,000kbps or higher, 1920 x 1080, H.264 video codec, AAC audio codec, stereo mix. This delivery item (for use by the blind/visually-impaired) should be separate from item (e) above; and it should have the full audio description track embedded on the main audio track
(g) Press Kit (in electronic form and in both word and PDF format) including clippings, synopsis, Director’s Bio (including full name, Place and Date of Birth, and filmography) and web address of the Film; and, If available, additional behind-the-scenes/interview content
(h) 10x publicity still images of the Film (behind-the-scenes images not acceptable) provided in electronic format (300 DPI minimum tif or jpeg). All images must be labelled with Film name and cast name.
(i) Image of director in print quality tif or jpeg format
(j) Digital copy of poster
(k) Completed Technical Credits Form (as provided by Premiere Fund)
(l) a further legal opinion in a form approved by MIFF Premiere Fund, as to the effectiveness of all acquisitions, assignments clearances, licenses and permissions entered into in connection with the production of the Film.
(m) E&O certificate, including title cover and with no exclusions, naming Filmfest Ltd. trading as Melbourne International Film Festival (MIFF) as an additional insured
(n) Statutory declaration regarding compliance with the Australian Screen Industry Code of Practice and the Victorian Screen Industry Code of Conduct
(o) If requested, copies of all global clearances, releases and consents including cast, crew, locations, interview subjects, footage, music or any other intellectual property
(p) For projects with significant Indigenous content, Indigenous access agreements and permissions
and
(q) Final audited cost report, including statutory declaration of Victorian spend.
[7.3] Credits: MIFF Premiere Fund shall receive credits (pre-presentation, opening and closing) where the Film’s other financial supporters receive them and those credits shall appear on all versions of the Film and its materials (including posters and other marketing materials) worldwide. MIFF Premiere Fund shall be included in the Film’s copyright notice. Assets and wording will be supplied by the MIFF Premiere Fund.
[7.4] Approval and consultations: The Fund will generally expect to be consulted on creative matters, such as script changes and cuts of the film, in line with customary norms amongst other film funders and end-user supporters in Australia. This includes invites to, and meaningful consultations on, rough-cut, fine-cut and pre-lock-off screenings or via a Vimeo link. In the case of equity investments, the Fund would have approval rights over the terms of any distribution and sales agreements – as well as substantial changes to the financing plans that would alter the recoupment position of the Fund’s Support (or its Screenings rights) and changes to key creative personal/talent.
[7.5] Rights Reversion: For investments post July 2009, MIFF Premiere Fund’s investment will revert seven years after delivery.
[7.6] Collections: The Fund will expect that projects will have a collections agent where there is a sales agent and/or distributor attached or when the sales agent and/or distributor is later attached.
[7.7] Recoupment: Should a film generate significant box office and/or ancillary/international sales, MIFF Premiere Fund wants to reinvest its share of returns in future projects seeking support. Therefore, all Support Amounts will be recoupable in proportion to MIFF’s support of the film in proportion to the project’s budget and the Fund will be entitled to a share of revenues from any spin-offs, prequels or sequels. MIFF Premiere Fund’s recoupment of equity investments will be pro-rata parri-passu with other equity investors, including producer investment. For completion- enhancement loans, MIFF Premiere Fund shall recoup 55% of its loan in first position until 55% of the loan is retired and then the remaining 45% of the loan will recoup pro-rata with other financiers of the project. There is no premium charged on Premiere Fund loans.
[7.8] Clearances, Releases & Agreements: MIFF Premiere Fund will expect that all proposals for support will include evidence of agreement from any cast or talent attached to the project, and, for documentaries, evidence of the agreement of any key personnel to participate in the documentary. It is also expected that the budget would include international clearances for footage and music, including the right to use such footage and music in promotional activities for the film.
[7.9] Drawdowns: MIFF Premiere Fund drawdowns occur at the following intervals (and only in a sequential manner): (1) Execution of PIA and associated transaction documentation (10%); (2) Start of shoot and delivery of first day DPR and cost report and evidence of payment of bond fee (40%); (3) Viewing of lock-off screening and credits approval & cost report (25%); (4) Delivery to MIFF (as per section 7.210 (a) – (p)) and acceptance thereof (20%); (5) Receipt of final audit and Victorian spend approval (as per section 7.2(q) (5%). Premiere Fund drawdowns only occur when the full budget is in place and after full signature of all PIA/long-form paperwork and transaction documents to the satisfaction of major investors and the Bonder.
[7.10] Legals: Legal costs are a fact of life. MIFF Premiere Fund support amounts will be inclusive of a 5% levy, to go towards covering legal fees arising in the course of contracting the Fund’s involvement in the project, which will be deducted from the project’s first drawdown. Applicants need to include this 5% legal fee levy in the application’s project budget. The Fund directly contributes a further 2% of the investment amount towards legal fees.
[7.11] Insurances: MIFF Premiere Fund will expect that projects will have all insurances, indemnities and warranties generally accepted as the norm for Australian screen productions, including indemnities and E&O insurances (including title). Projects are expected to have a completion bond attached and applicants are required to submit a letter of intent from their completion bonder showing the agreed cost of the bond. All insurances will name Filmfest trading as Melbourne International Film Festival (MIFF) as an additional insured.
[7.12] Accessibility and inclusion: MIFF Premiere Fund requires that all funded projects budget for their primary exhibition format to include fully-descriptive captioning (for use by the deaf and/or hearing-impaired) and audio descriptions (for use by the blind and/or visually-impaired).
[7.13] Safe Workplaces: MIFF Premiere Fund requires that all productions comply with the Australian Screen Industry Code of Practice and the Victorian Screen Industry Code of Conduct and the Screen Industry Covid-Safe Guidelines.
[7.14] Indigenous/First Nations Subjects and Creatives: For projects dealing with Indigenous/First Nations content, the Fund will expect that there will be key Indigenous creative principals (director or producer or writer) attached to, and having meaningful involvement with, the production of the Film
[7.15] Chain of Title: Applicants must demonstrate they hold all relevant rights to the work and are required to submit one copy of Chain of Title documentation – or a solicitor’s opinion on the Chain of Title if preferred.
[7.16] Reports: MIFF Premiere Fund expects to receive the same reports as other investors/supporters of the project, such as production progress reports, post-production progress reports and, after completion, collections agent reports.
[7.17] Publicity: Successful applicants agree that MIFF and the Premiere Fund will be able to publicise their Support of the project – both for the Festival exposure and also for the purposes of promoting the Fund to the industry and stakeholders – and that the festival’s publicists will have access to the set and cast/creatives for the purposes of such publicity efforts.
[7.18] Ethical working and supply: Successful applicants agree that they, and their officers and employees, will, comply with the principles of ethical business conduct and in particular that they: do not employ workers below the minimum age according to applicable law; do not use forced, prison, or indentured labor, or workers subject to any form of compulsion or coercion; comply with applicable laws and regulations protecting the environment and do not adversely affect local communities; do not engage in bribery of government officials; do not infringe the intellectual property rights of any party; and seek to only use suppliers conforming to similar standards.
[7.19] Heritage Rights MIFF Premiere Fund will expect that the project takes all reasonable endeavours to respect and uphold the rights of any Indigenous participants with respect to their heritage, including, but not limited to, documents, images, artefacts, stories, objects, sites, knowledge.
[7.20] No default: Applicants must certify that they are not in default of any contractual arrangements to the Victorian and Federal Australian Governments and any of their agencies and that previous Premiere Fund commitments were fully-honored and fully-acquitted.
[7.21] Length of commitment: Premiere Fund Supports will generally be valid for up to three months from the date of the Premiere Fund commitment letter. If financing has not progressed to the satisfaction of the Premiere Fund and the Premiere Fund is not convinced the project will be ready for premiere at the agreed year of MIFF, then the Funding to the project will expire and that funding will be allocated to a future Round. The project may re-apply for the funding but it will be re-assessed against the other projects in the new Round.
[7.22] Relativity of PF investment As MIFF Premiere Fund investment is to be additional to other forms of support, and is partly calculated on the project’s Victorian spend, should any of the Government investments or incentives amounts reduce, or should the Victorian spend reduce, the Premiere Fund Investment may also reduce.
[7.23] Agreement to Guidelines & Conditions: By applying for Premiere Fund support, applicants are agreeing that they have read these guidelines in full and agree to be bound by the content of these Guidelines (including, but not limited to, recoupment, draw-downs, credits, delivery date, premiere, promotional holdbacks, screening holdbacks (and all the conditions associated with holdbacks), bond and delivery date) and the terms and conditions of support.
