Sean Slatter· IF magazine ·February 24, 2025

Prime Video Australia and New Zealand head of content Alexandra Gilbert, Stan chief content officer Cailah Scobie, and Netflix ANZ director of content Que Minh Luu.

The week just gone was one of mixed fortunes in Australia’s streaming landscape.

News of Stan’s 14 new commissions to celebrate its 10th anniversary and Paramount’s renewal of NCIS: Sydney was coupled with confirmation that big-budget drama Territory and long-running soap Neighbours would not be continuing.

Screen Producers Australia and the Media Entertainment and Arts Alliance have since renewed their calls for the government to intervene with streaming content obligations, initially slated for July 1 last year.

As the global market continues to grapple with contraction and changing viewer habits, IF spoke with Netflix ANZ director of content Que Minh Luu,  Stan’s chief content officer Cailah Scobie, Prime Video Australia and New Zealand head of content Alexandra Gilbert* about their approach to local content in 2025.

IF: What do you think will be key to getting cut through with audiences this year?

Que Minh Luu: No big plot twists with our approach, but I’m glad your first question is about the audience. Ultimately, our role is to help forge and protect the emotional connection between the creator and the people they want their story to reach.

Competition for attention is aggressive, so finding those story hooks is an art. But with long-form especially, making that initial narrative promise is far easier than maintaining it across multiple episodes. Follow through on the hook is about landing the feelings with the audience – essentially clear eyes, full hearts, can’t lose.

Cailah Scobie: I think something we talked about is connection and I think that connection is what will come through with audiences. We’ve announced an incredibly diverse slate and really our aim is to ensure we’ve got something for everyone, from body horror features to family features to murdering gnomes to beautiful stories about organ donation and grief and love and hope. It all comes down to people connecting with other people through stories.

Emily Blunt in upcoming Stan Original Film ‘One More Shot’

Alexandra Gilbert: This year, a significant focus will be on delivering diverse, authentic local stories that resonate with Australian audiences, alongside our global slate. Our strategy includes balancing iconic franchises like Reacher with uniquely Australian narratives, like The Narrow Road to the Deep North and Top End Bub,  offering premium live sports content, including ICC World Cup Cricket, NBA and further showcasing Prime Video as the first-stop entertainment destination where customers can get their favourite content, all in one app. Our global teams continue to deliver exceptional entertainment that resonates both worldwide and with Australian audiences. We’ve achieved unprecedented success with our content, including four of our most-watched TV series ever and two of our most successful films to date. Australians have enthusiastically embraced both returning favourites like Reacher, The Boys, and The Lord of the Rings: Rings of Power, as well as compelling new series like Fallout. Our films have also seen remarkable success with standout recent hits including Road House and The Idea of You.

IF: How do you plan on building your slate this year, and how does your approach differ from 2024?

QML: The slate is always a work in progress. We started four and a bit years ago with targeted bets to see what connected with Aussie viewers. Now we move with more conviction as we launch, reflect, and iterate. 2024 was a ‘go big’ year with Boy Swallows Universe – our biggest performing local show ever – followed by Heartbreak High S2 and Territory. The AACTA recognition for all three meant a lot to us. 2025 has started strong with Apple Cider Vinegar, with The Survivors and Son Of A Donkey to follow, plus more announcements coming. A streamlined approach to financing can provide more certainty for creative partners, with emphasis on development time. We aim for 80 per cent of scripts to be in third draft before pre-production begins, which means happier HODs, stronger creative, and better shows for our audiences.

CS: We’re ten years old and we are always learning more about our audience. We know what audiences want and what they are looking for, and we are always genuinely looking for stories that will stand out. Alongside the big time and investment we put into making the shows, we also market them heavily to ensure they get to the broadest audience possible. That is absolutely the aim of everything we are doing.

AG: As we move into 2025, our commitment to delivering compelling entertainment that resonates with Australian audiences remains stronger than ever. We’re particularly excited to be launching two distinctly Australian Original series: an adaptation of Richard Flanagan’s prestigious Man Booker Prize-winning novel The Narrow Road to the Deep North, and Top End Bub, a series inspired by the beloved Australian film Top End Wedding, Beyond our Australian Originals, our continued partnership with Roadshow Films ensures a robust pipeline of content specifically curated for Australian audiences. Australian viewers can also look forward to our premium drama offerings, including Nine Perfect Strangers season two, featuring an exceptional cast including Nicole Kidman alongside Australian talent Murray Bartlett, as well as Christine Baranski and Henry Golding. Nicole Kidman also stars in the film Babygirl which we will bring to Prime Video audiences this year. Our entertainment offering is complemented by a burgeoning slate of live sports programming. We’re in our second year of ICC cricket on Prime Video and cricket fans can look forward to extensive coverage in 2025, including the Champion’s Trophy and Men’s World Test Finals. Additionally, 2025 marks our first full year of NBA coverage, following the launch of this significant partnership in 2024.

IF: One of last year’s big talking points was the government’s inability to confirm a timeline for streaming content obligations, despite extensive consultation with the industry. Were you satisfied with the process and do you anticipate changes to the regulatory environment this year?

QML: Ultimately, everyone is working towards the same goal: telling more authentic local stories, and supporting Australian creators. Our team is lucky to be able to focus all our time and energy on making this happen at Netflix, as part of the local ecosystem and screen culture. With our permanent office now open, we’re even better positioned to deliver series and films that make Australians everywhere feel seen, heard, understood, and entertained.

CS:  We’ve been involved in the process the whole way through but our position always has been and remains that regulation isn’t required [for us]. We are already commissioning an exceptionally large volume of quality drama that’s resonating both with Australian audiences – we talked about how originals made up five of our top ten shows in 2024 – but also working globally. Outside the global streamers, Australian productions have relied on collaborations with rest of the world distributors, so it’s important our stories are unashamedly Australian and can unashamedly connect with Australian audiences but also resonate with a global audience. I think that is what we’re always looking for across the broad slate of content that we’re bringing forward.

AG: We have consistently said that despite there not being an industry failure, we won’t oppose an investment obligation that is fair, flexible, and sustainable. Prime Video has and will continue to work constructively with the government on this issue. However, I don’t want to speculate on any future changes.

IF: What are the defining traits of Australian content at the start of 2025?

QML: The brilliant Hannah Carroll Chapman, series creator of Heartbreak High, summed up the vibe of the show as, ‘Everything is funny, until it’s not… and then it’s funny again’. I have determined that this sentiment reflects our overall vibe as a nation. Proud of it.

CS: I think it is about storytelling, it’s about connection, and seeing Australia in all that encompasses on the screen. I think that’s something we’re incredibly passionate about – ensuring that our audiences can watch something and see themselves, their culture, and their stories reflected in what we’re telling.

AG: Australian content continues to be defined by its authenticity, humour, and resilience. We’re witnessing film and television creators pushing creative boundaries with bold storytelling choices – crafting narratives that masterfully balance heart and humour while celebrating Australia’s distinct cultural identity and experiences.

IF: How does Australian storytelling measure up on the world stage and are there any areas where you think it could improve?

QML: Pretty great. Production-wise we are world-class: Thor and Star Wars get made here – there’s no question we know how to deliver. Above-the-line and onscreen talent are kicking goals all over the place, and part of our work includes bringing them back home for local projects. Perhaps we need to back ourselves more: be confident in our own voice, our humour, and our way of seeing the world, rather than smoothing out edges for a global audience.

CS:  I think Australian productions are incredible. We have an incredible creative community in Australia and Australian stories are resonating, both in Australia and globally. A number of our shows have sold to huge platforms globally and that’s also the same for Australian stories told by other streamers and platforms globally. I think there’s incredible talent and appetite for Australian stories globally.

AG: Australian storytelling has earned global recognition for its authenticity and creative strength. You only have to look at the success of a show like Deadloch, which reached the top 10 in 165 countries and has retained a 100% score from critic reviews, to see how local shows can have a global appeal – and fans can’t wait for season two.

There’s an opportunity to continue evolving by delving deeper into diverse narratives and amplifying Indigenous and multicultural voices. We’re excited to champion projects that reflect this diversity with projects like Top End Bub, with Miranda Tapsell, which is coming to Prime Video this year.

IF: What advice would you give creatives wanting to work with you this year?

QML: Because we’re not a studio that self-produces, we work with established producers or production companies with proven track records delivering complex long-form productions. It’s an essential filter, but yes it can be tough getting through the door. If you’re a creator, partner with established producers who can help develop your project to market readiness.

We encourage producers to proactively seek out the next generation of creatives, unearth the best voices and ideas, and bring them to us with your creative backing. For below-the-line roles, our productions include talent development through salaried attachments and placements. Screen Australia and the state agencies that have supported our titles are also brilliant partners here.

CS: When you’re pitching content to us, [it’s about] knowing who the audience is. That would be one of our first questions. Really believe in the creative that you’re presenting and understand its point of difference in the crowded market, and make us believe in the team you’ve got to deliver it and produce it.

AG: We’re seeking ambitious original stories that could only come from Australia but speak to audiences everywhere. Our team is particularly drawn to projects with a strong creative vision and distinctive point of view. We want to hear from storytellers who are ready to push boundaries while staying true to what makes Australian content unique – its authenticity, humour, and heart.

By Jeremy Kay23 February 2025

Source: Courtesy of Neon / A24 Anora Productions LLC

Sean Baker

Film Independent handed out its 2025 Spirit Awards on Saturday afternoon (February 22), in a Santa Monica ceremony that saw Anora claim three prizes for best feature, director Sean Baker, and lead actor Mikey Madison in the gender-neutral category.

Sean Wang’s Didi took two prizes for best first feature and first screenplay, while Gints Zilbalodis’s Latvian animation Flow won international film and No Other Land was named best documentary. A Real Pain also nabbed two awards for screenplay and supporting actor Kieran Culkin.

Baker gave an impassioned speech calling for higher upfront fees for independent directors who he said take on average three years to make a feature. His words echoed recent statements by The Brutalist writer-director Brady Corbet.

“Indie film is struggling right now more than ever,” said Baker. “Gone are the days of DVD sales that allowed for a greater risk to be taken on challenging films.”

Baker continued, ”We create jobs and revenue for the entire industry. We shouldn’t be barely getting by. Creatives that are involved with projects that span years have to begin getting much higher upfront fees […] because back end simply can’t be relied upon any longer.” He concluded: “The system has to change because this is simply unsustainable.”

By Sandy George Screen Daily. 11 February 2025

Australian distributor Troy Lum is a key buyer of international and arthouse films through Kismet, and he produces too — now through Brouhaha Entertainment. He explains how he maintains his portfolio.

Taste matters, affirms Australian producer/distributor Troy Lum. “The path for a film to be successful is so narrow and only good films work,” he says. “Theatrical is feast or famine. In the old days, films that weren’t brilliant could still do business. Now, many films don’t work, but if you hit the target the sky’s the limit.”

Through Kismet, the outfit he runs with Jason Hernandez which releases in Australia and New Zealand, Lum is in the middle of a busy period distributing three awards season big-hitters: Anora, Emilia Pérez and Maria.

Anora has taken $94,000 (a$1.5m) in Australia and New Zealand in the first three weeks following its December 26 release. “Pro rata, it is tracking above the US result and is likely to reach a$2.5m-a$3m [$1.6m-$1.9m],” says Lum. “That is a fantastic result in the current climate.”

He says the core audience is a “hip crowd” of 25 to 35 year olds interested in independent films. Kismet is eyeing this “new” audience closely and, in this case, worked with social-media influencers to accelerate the word of mouth that is driving ticket sales.

In contrast, the audience for Emilia Pérez, which opened on January 16, is not defined by age. “They’re anywhere from 25 to 60-plus, into traditional arthouse and interested in the avant-garde, risk-taking and films from master directors,” says Lum.

Maria is scheduled for January 30. “The film is likely to be for more of a classic arthouse audience, 50-plus, aware of [opera singer] Maria Callas,” predicts Lum. “They are the people who saw Lee, which I produced, and Conclave.

“The overseas awards heat and publicity is doing a lot of the work for us,” he continues. “We are still putting in the work but it’s a lot about timing. Different marketing and publicity contractors have been brought on for each.”

Lum has been in the distribution business since starting at Dendy Films in 1996, developing important relationships over the years with international sellers including FilmNation, Charades, Mister Smith, Black Bear and Blue Fox.

“A film has to add up on the page and have something to say,” he notes of the kind of projects he is looking for. “Good directors are more important than ever.”

An A-list cast is also critical. In acknowledging the difficulty for indie producers in securing bank­able names, Lum points to the need to nurture a new generation of actors that attract young audiences. He namechecks a trio of rising Australian stars: Josh Heuston, from Sean Byrne’s Dangerous Animals, which is in post with Lum producing; Talk To Me lead Sophie Wilde, “a superstar in the making”; and Lee Tiger Halley, who stars with Wilde in Netflix mini-series Boy Swallows Universe, produced by Lum’s production venture Brouhaha Entertainment.

After Dendy, Lum created Hopscotch Distribution back in 2001 to release upscale indie films, which was followed in 2009 by production arm Hopscotch Features with producer Andrew Mason and screenwriter John Collee. The distribution arm was acquired by eOne in 2010 and Lum worked as head of eOne Asia Pacific, while still involved with Hopscotch Features, until he launched Australia-­New Zealand distributor Kismet in 2021. Kismet’s biggest success to date is the broad homegrown comedy Wog Boys Forever, the third film in a hugely popular franchise, which grossed $2.2m (a$3.5m) in Australia in 2022 (it was not released in New Zealand).

More on-brand for Lum was Kismet’s second-biggest hit Aftersun, which grossed $1.07m (a$1.7m) from Australia and New Zealand. “Ten years ago I was worried the arthouse market was dying out,” says Lum. “But for the first time in 15 years, it is starting to build a new audience.”

Brouhaha Entertainment is the Anglo-Australian production outfit that brings together Lum and Mason with UK producer Gabrielle Tana, and backer John Glencross, CEO of Calculus Creative Content, which has utilised the UK government’s Enterprise Investment Scheme that supports indie companies. Brouhaha secured further investment in October 2024 from US-based Anonymous Content with which it had worked on its first series, Boy Swallows Universe.

Kismet has a first-look deal with Brouhaha but the only resulting release to date has been Lee Tamahori’s The Convert, which grossed more than $630,000 (a$1m) in Australia and New Zealand. Brouhaha titles Lee, starring Kate Winslet, and Firebrand, starring Jude Law and Alicia Vikander, were released by Studio­canal and Sony respectively in Australia and New Zealand.

Brouhaha aims to produce at least two films and one series per year. In mid-2025 cameras will roll on Bharat Nalluri’s comedy OK Boomer, starring Bryan Brown and Heather Mitchell as a couple travelling to their daughter’s wedding. “It’s a road movie with a postcard feel and echoes of Muriel’s Wedding,” says Lum of the film, which has been picked up for international sales by Blue Fox.

Dominic Cooke’s Insomniac City for Altitude Film Sales is set to shoot in the third quarter of 2025. Bill Hayes has adapted his 2017 memoir about grief and his love affair with neurologist Oliver Sacks.

Anton Corbijn’s Switzerland-UK co-­production Switzerland, starring Helen Mirren as novelist Patricia Highsmith, is in pre-production and will be shot in Switzerland, Italy and Europe from the end of January for FilmNation.

Meanwhile, Dangerous Animals, described as Jaws meets Wolf Creek, is in the edit suite for Mister Smith Entertainment.

On the TV side, Brouhaha is develop­ing a series adaptation of mother-­daughter story Lola In The Mirror from Boy Swallows Universe author Trent Dalton.

Lum will attend the Berlinale remotely, taking online meetings and financing OK Boomer and Insomniac City. He plans to attend Cannes, acquiring for Kismet, taking meetings for Brouhaha and checking in on Switzerland, which will be in post in the UK. “Supporting creativity is my aim,” says Lum of how he juggles his busy life. “My companies are separate on paper but it feels like one thing.”

Brendan Swift·

February 21, 2025 IF magazine

Host Russell Crowe speaks during the 2025 AACTA Awards (Image: Mackenzie Sweetnam/Getty Images)

The Australian Film Institute, which runs the annual AACTA awards, posted a 24 per cent increase in annual revenue last year to $6.03 million as government funding and other grants surged.

The annual financial results, which were filed with the Australian Charities and Not-for-profits Commission (ACNC), shows “a “government and other grants” increased to $2.75 million from $1.84 million the previous year. Sponsorship also increased to $2.44 million from $2.20 million.

The last time revenue passed the $6 million mark was in 2020.

Nonetheless, the registered charity still posted a $48,616 loss in 2024 compared to a $62,298 loss in 2023 partly due to increases in employee expenses, production expenses, and other expenses.

The AACTA awards were held on the Gold Coast this month over five days and across more than 110 events including panels, premieres, awards ceremonies, workshops, and careers expos. The event attracted more than 22,000 attendees at HOTA on the Gold Coast.

AACTA Awards sponsors include Foxtel Group, as well as the Queensland Government through Tourism and Events Queensland, Screen Queensland, and Experience Gold Coast. The 2023 AACTA Awards also received $366,000 from Screen Australia according to its last annual report.

The AFI’s remuneration paid to two unnamed key management personnel for the year rose 2.1 per cent to $534, 513. The ACNC lists the responsible people as CEO Damian Trewhella and board members. The board is typically unpaid in a registered charity.

The AFI has 11 full-time employees, six part-time employees, and two casual employees. It also lists 20 volunteers according to its annual information statement.

By way of comparison, former Screen Australia CEO Graeme Mason was paid total remuneration of $467,681 in 2022-23 (the 2023-24 remuneration results were split across Mason and new CEO Deirdre Brennan).

Sean Slatter· IF magazine

August 30, 2023

L to R, T to B: Dylan River, Bonnie Moir, Nicholas Verso, Lucy Coleman.

Stan has followed Netflix in announcing an expansion of its drama slate, with the Nine-owned streamer to work with Ludo Studios, Feisty Dame Productions, and Thirdborn on a trio of new series.

Ludo Studio will make eight-part road series Thou Shalt Not Steal, to be directed by Dylan River, while Thirdborn is producing coastal mystery thriller Exposure, and Feisty Dame Productions is preparing to shoot Invisible Boys in Western Australia.

Adapted from WA author Holden Sheppard’s book of the same name, Invisible Boys is a ten-part drama that explores the challenges faced by a group of gay teens in Geraldton, after one of them is outed on social media following an encounter with a married man. As they form a tight-knit friendship, the boys find solace and support in one another, exploring their desires and identities in a world that often renders them invisible.

The novel was awarded the 2019 WA Premier’s Prize for an Emerging Writer, the 2019 Kathleen Mitchell Award, and the 2018 City of Fremantle TAG Hungerford Award.

It was optioned by Crazy Fun Park creator Nicholas Verso and Feisty Dame Productions’ Tania Chambers in 2020, with the project going to receive support from Screen Australia’s Generate fund the following year.

Stan commissioned the series as part of a joint initiative with Screenwest designed to foster local talent and spark the development of new series in WA by providing funding of up to $20,000. The production is being supported through Screenwest, Lotterywest, and the WA Regional Screen Fund, with Banijay Rights to handle international distribution.

Verso penned the episodes alongside Sheppard, Enoch Mailangi, Allan Clarke, and Declan Greene, and will also produce with Chambers.

He said it had been a “dream” creating the series for Stan, who had “shown such a strong commitment to quality Australian and LGBTQIA+ storytelling”.

We’ve had a blast in the writers’ room, diving deeply into this world and expanding upon the characters and themes of the book with all its love, heartbreak, confusion, messiness, and joy,” he said.

“I can’t wait to be back on set in Western Australia, bringing the story to life with the wonderful creative team.”

Chambers also paid tribute to the streamer, as well as the other financing partners, for supporting the series, which she and Verso “to resonate strongly with audiences in Australia and across the world”.

Stan will head to South Australia and the Northern Territory for Thou Shalt Not Steal, a 1980s-set story that follows young Aboriginal delinquent Robyn, who escapes detention and reluctantly teams up with awkward teenager Gidge as she searches for the truth behind a mysterious family secret.

The pair begin a perilous journey across the Australian Outback, pursued by Maxine, a sex trafficker whose taxi Robyn stole, and Gidge’s domineering father, a fraudulent preacher called Robert.

The series is executive produced by Ludo’s Charlie Aspinwall and Daley Pearson, alongside producer Sam Moor, and received production investment from Screen Australia with support from the South Australian Film Corporation, Screen Territory, and Screen Queensland’s Post, Digital and Visual Effects (PDV) Incentive.

Like Thou Shalt Not Steal, Exposure also has its share of mystery, with the story centred on Jaco Gould, a photographer who, following the death of her best friend, returns to her hometown to discover the hidden secrets of their relationship and the truth behind the tragedy.

Lucy Coleman is the writer and creator, with Bonnie Moir directing and Thirdborn’s Nicole O’Donohue producing with Justin Kurzel and Shaun Grant. The six-part NSW-set series, which All3Media will distribute, has received significant investment from Screen Australia, with support from Screen NSW.

Speaking about the slate announcement, Stan chief content officer Cailah Scobie said the programs are representative of the streamer’s entire slate.

“These unique dramas have attracted prestigious international partners – DCD Rights, All3Media International and Banijay Rights – signifying the global reach and relevance of Stan Original content,” she said.

“We are thankful to the Australian writers, directors, producers and filmmakers involved in the projects, and the ongoing support of Screen Australia, alongside our other key partners Screen NSW, Screenwest, Lotterywest, the WA Regional Screen Fund, Screen Territory and the South Australian Film Corporation.”