• FINANCIAL GRANT

  The FDCP may award a Grant amounting from PHP 30,000.00 to PHP 50,000.00 for the production of a thesis film project.

  The FDCP will open up to 25 slots per semester (or 50 slots per year) to all Filipino student filmmakers from any accredited educational institution in the country. The program will be opened on two cycles based on the start of the semesters of each academic year. The grant is awarded per project.

• TRAINING

  The successful Grantees will be required to attend a one day Masterclass in Film Production to be conducted by the FDCP.  This will serve as a refresher course and will ensure that the Grantees are equipped for the conduct of their film production.

The program is dedicated to college students who:

• are currently enrolled in AB Film, Communication, or any related course program in public or private universities and colleges that are registered to the Academic Film Society;

   

• has a good academic standing with no failing grades;

   

• will be producing a film as their thesis or course project which is a major requirement for graduation.

• The program is only open for academic film projects that meet the following:

   

• Writer, director, and producer must be Filipino and enrolled in a course program in film, communication, or any related program;

   

• Must be a work of fiction, documentary, experimental, or animation;

   

• Must be in Filipino, other Filipino languages, or English;

   

• Must have a production-ready script or treatment (if documentary);

   

• Must be ready to commence principal photography within 6 months;

   

What Projects Are Not Accepted

• Advertisements or commercials;

   

• Television or web series; 

   

• Projects that may already be classified under R-18 of the Movie and Television Review and Classification Board (MTRCB) Guidelines.

Qualified Expenses

• Production
• Studio rental
• Location rental/on-set shootings
• Permits
• Equipment rental
• Health and Safety Requirements
• Transportation for location shoot
• Lodging during location shoot
• Production Design / Props 
   

Post-production 

• Outsourced video editing services such as online conform, color-grading, animation / visual effect / 3D conversion, etc. from professional post-production studios
• Outsourced audio-post production services such as sound editing, music, and scoring, sound design, sound mixing, voice-over, etc. from professional post-production studios
• Subscription to audio-visual post-production softwares such as Final Cut Pro, Adobe Premiere Pro, Adobe Audition, etc.
• Post-production requirements such as hard drives, flash drives, and CDs.
   

Non-qualified Expenses

The Grant may NOT be used to cover the costs for the following:

• Any part of the student/s or university's fees;
• Any expenses outside of the Philippines; and
• Purchase of any type of equipment (e.g. computers, laptops, tablets, cellular phones, modems, fax machines)
• Talent fees for actors and production staff

• Complete and accurately filled out SFAP Application Form

   

• Student’s latest Enrollment Form and/or School ID

   

• Certified True Copy of latest student evaluation / grade report

   

• Official Letter of Endorsement for the Student from the Department Chair/Head/College Dean (Template provided)

   

• Work and Financial Plan (Template provided)

   

• Final Production Script

   

• Portfolio/reel, if any

1. Submission. Application must be submitted via email to afs@fdcp.gov.ph
2. Verification. The FDCP Film Education Division shall check all documents and verify accuracy and completeness. Once verified, the proponent will be prompted to send the hardcopy of the signed and notarized Statutory Declaration.
3. Technical Committee Evaluation. Once received, the application will be reviewed by a technical committee composed of members with expertise across the areas of film production, as well as members of the academe. Each application will be evaluated based on the following:
   • Quality of the script
   • Academic Standing of Student
   • Feasibility of work plan
   • Credibility of the Financial Plan or proposal on where the applicant intends to spend the Grant
   • Potential of the academic film project to be competed in film festivals

The application may be accepted or declined if it does not comply with all of the guidelines of the program. The decision of the Technical Committee is final and irrevocable. The Technical Committee is not obliged to give any further explanation for the results.

The SFAP will be opened for two (2) cycles per year. Applicants must ensure to lodge their documents before the close date of the cycle that applies to their current semester.

• Cycle 1: TBA

   

• Cycle 2: TBA

GUIDELINES:

1. The competition is open to all young filmmakers of ages 18 to 23 years old and must have produced at least one short film.
2. Only one (1) submission per applicant will be accepted.
   2.1.    Applicants must make sure that their producer (if they already have one) does not have a project in any other SineKab 2026 entries.
3. The applicants may submit concepts that depict the youth’s perception of the following issues: 

4.    Entries must not be a thesis film.

5.    Twenty (20) concepts will be shortlisted and will undergo film pitching with the Sine Kabataan Selection Committee. From the film pitch, ten (10) projects will be chosen as finalists and will be selected for development and production. The chosen finalists will be given the grant to produce Sine Kabataan Short Film.

6.    Films can be live action, animated, documentary or experimental 

7.    The completed film must have a total running time of at least seven (7) to twenty (20) minutes, including the opening and closing credits.
 

8.    The completed film output will have its premiere during the Philippine Film Industry Month in September 2026.
 

9.    Projects that have already been completed or have begun production prior to the application are ineligible to apply.
 

10.    The rights to completed film output will belong to the proponent. However, the Film Development Council of the Philippines reserves the right to screen entries in various cultural and non-commercial events and platforms.
 

11.    The use of original or adapting literary sources, music materials, artwork, photography, etc. must have proper clearance from their respective copyright owners before they can be used in the final output. The Festival organizers shall not be liable for any costs related to claims of performing rights organizations.
 

12.    By entering the Festival, the participants agree to abide by the Festival guidelines and rules. The FDCP shall be indemnified of any liabilities.
 

13.    In case of any violation of the guidelines and rules, the organizers and the judging Committee reserves the right to disqualify the participant and their film or remove them from the program.
 

14.    The organizers and the selection committee reserves the right to disqualify any participant and/or to forfeit any prize from a participant who is found to have committed plagiarism or has undertaken fraudulent practice and/or activities harmful to the Festival or the Festival submission process.
 

15.    FDCP reserves the right to create, revoke, and modify at any time, in any way its entry requirements, rules and regulations at its absolute discretion without prior notice. Finalists and submitted entries shall be bound by any amendments or addition to the entry requirements, rules and regulations herewith.
 

16.    The decision of the Selection Committee is final and irrevocable. The organizers and the selection committee are not obliged to give an explanation for the results.
 

17.    The applicant must have a clear record with the FDCP having no outstanding clearance issues from all other types of FDCP assistance program.
 

ENTRY REQUIREMENTS

The following requirements must be uploaded to the same link as the application form. Incomplete requirements will not be accepted. 
 

1. DULY ACCOMPLISHED APPLICATION FORM with complete details (Complete name and contact details, Working Title, Synopsis, Director/Scriptwriter Intention’s Note, Concept and Financial Plan)
    

   Application form can be downloaded via this link: Sine Kabataan 9 Application Form
    

2. Online link to one (1) previously produced short film (if applicable). (Note: the online link must be set to private and the link and password must be uploaded via Vimeo or Google Drive).
3. Brief resume, HD profile photo, and a copy of a government-issued ID of the filmmaker.
4. Story concept (in PDF) and/or script if available.

SUBMISSION OF ENTRIES
The deadline for submission is until March 6, 2026

The FINALISTS are required to send two of their members and shall undergo intensive film labs under the supervision and guidance of mentors from the film industry that would help them to develop their skills in story development, editing, technicalities, and other elements of filmmaking to better translate their stories.

FILM LAB 1 : Story Development Lab

In the Story Development Lab, FDCP will be inviting directors and writers from the industry to equip the finalists with the necessary tools and information they need to create truthful and insightful narratives that will translate into inspiring films. The lab will have a talk and separate mentoring for each finalist.

FILM LAB 2 : Pitching  Lab and Showcase

This Lab focuses on how to perfectly pitch a project to different kinds of investors, which contents are the most adequate to present, what information you cannot leave out of your presentation and how to communicate your ideas and your project in the best possible way. After the lab, there will be a Pitching Session where all the shortlisted participants will pitch their projects to the Selection Committee. Ten (10) projects will be chosen as part of the Sine Kabataan Finalist.

FILM LAB 3 : Editing Lab

The editing lab is a one-on-one session with industry experts. The finalists will bring the rough cut of their films and will be criticized and mentored for the betterment of their project. The two-day workshop ensures that there is progress with the mentored projects. After this, they will be given ample time to polish their works and will be subject to submission in preparation for the screening and awards night.

GRANTS / FUND
This competition consists of TEN (10) chosen finalists and will be given a production grant of P 200,000.00 each to produce at least 7 to 20 minutes short film and shall comply with all the administrative and auditing requirements as advised by the Sine Kab Secretariat. The grant will be given in two (2) tranches.

FILM FESTIVAL
The completed film output will have its premiere during the Philippine Film Industry Month in September.

AWARDS AND PRIZES
Aside from the production fund, incentive awards will be given to the finalist who best deserves the following: 

Eligible Applicants

Applicants must meet the following eligibility criteria and comply with all requirements:

• A Filipino citizen of legal age (18 years old and above).
• FOR FILM: Filipino director or producer registered in the FDCP National Registry.

  • FDCP National Registry
    The National Registry (NR) is a program under the FDCP that maintains a database of active film, television, and press workers, audiovisual workers, production companies, organizations, and film festivals in the Philippines.

    All applicants of the National Artist Program must be duly registered under the National Registry for Companies (NRC). If the director of the project is a Filipino, he/she must be registered under National Registry for Audiovisual Workers (NRAW). ​​​​​​

• Holds or shares the intellectual property rights of the project. Any disputes arising regarding intellectual property rights post-submission will lead to disqualification of the entry until such disputes are fully resolved.
• Have all necessary rights to develop, produce, and distribute the project.
• Do not have any overdue obligations from any FDCP assistance or funding programs.
• The project must not concurrently be funded by another FDCP program.
• Fully comply with all eligibility requirements as set by the FDCP, including the timely submission of required documents and adherence to all application guidelines.

Eligible Projects and Format

FILM

Full-length Narrative Feature films, short films (should be at least 20 minutes running time), and documentary films and documentary series, animation, or mixed media.

• The project should be in the pre-production phase, or at the script/proposal stage, with clear development beyond the initial concept. This means the project must have a finalized script, detailed production plan, or visual treatment, and must be prepared for production or further development.
   

BOOKS

• Eligible book formats include biographies, non-fiction narratives, literary works, and comics that highlight the life, achievements, and contributions of the National Artist for Cinema and Film and Broadcast Arts, providing in-depth insights into their impact on the industry and culture.
   

RESEARCH

• Eligible research studies must be at the level of an MA thesis or higher, including PhD dissertations, scholarly or academic studies, and other advanced research projects.
• The applicant may conduct basic, applied, or action research using quantitative, qualitative, or mixed methods approaches, with a primary focus on the National Artists for Film and Broadcast Arts.
• Both individuals and organizations are eligible to apply for support under the National Artist Program, provided the research meets the criteria outlined.
   

​​​​Ineligible Project

1. Advertisements or commercials
2. Television series/programs
3. News or current affairs programs
4. Productions of public or live events
5. Projects containing explicit content, excessive violence, defamatory material, or content deemed harmful to national interest will be disqualified.
6. Films with excessive violence, political propaganda, or films sponsored by government entities.
7. Projects with pending obligation/unliquidated funds with FDCP.
8. Projects with no clear alignment to the National Artist for Cinema and Film and Broadcast Arts’ life or works.
9. For Films:
   Projects that have already been completed or have begun production prior to the application
10. For Books:
    • Projects that have been completed or partially published and/or distributed prior to the submission of the application

11. For Research:
    • Studies that have already been completed or published before the application period.

    • Research that does not directly focus on the National Artists for Film and Broadcast Arts.

    • Projects that lack a well-defined research methodology or do not meet standards of scholarly excellence.

    • Studies with ethical concerns, including plagiarism or improper use of sources.

(Note: For more information, please refer to the complete guidelines of the National Artist Program.)

Provisional Application Process

• Applicants must read and understand the General Guidelines, including expectations and deliverables.
• To apply, applicants must access the application form through the google link posted on the FDCP website www.fdcp.ph. This will serve as the platform for application and submission of requirements
  Important notes:
  1. Required documents for the application and other forms must be supplied in English or Filipino only.
  2. All application requirements must be consolidated and submitted at once.
  3. Supporting documents that are sent separately will be disregarded, and the application will be considered incomplete 
      

GFORMS LINK FOR NATIONAL ARTIST PROGRAM [FILM]
National Artist Program - Film Application

GFORMS LINK FOR NATIONAL ARTIST PROGRAM [BOOKS]
National Artist Program - Book Application

GFORMS LINK FOR NATIONAL ARTIST PROGRAM [RESEARCH]
National Artist Program - Research Application

• Applicants must fill out the Application Form and submit the required documents stated on III.B. REQUIREMENTS.
• Applicants must wait for the email notification on the submitted Application form.
• NAP Program Officer will verify all the submitted documents and applicants may be asked to provide supplementary documents, should it be decided that the submitted documents contain inadequate details.
• Once all documentary requirements are completed, the National Artist Program (NAP) Program Officer will submit the project to the FDCP management and Board of Trustees, for review and approval.
• Once approved, the NAP Program Officer must notify the applicant via email and schedule an orientation on eligible expenses.
• Each applicant/ organization is permitted to undertake only one (1) project per fiscal year.
   

EVALUATION

Projects will be reviewed based on the following:

FOR FILMS

FOR BOOKS

FOR RESEARCH
 

Please note that in addition to the above considerations, the application may be declined if it does not comply with the guidelines of the funding as stated herein.

The decision of the FDCP Board of Trustees (BOT) is final and irrevocable. The BOT is not obliged to give any further explanation of the results.

PROCESS FOR SELECTED PROJECTS

1. Selected applicants will be notified via email following FDCP Management and Board of Trustees' approval.

2. The proponent is required to enter into a Memorandum of Agreement (MOA) with the FDCP, certifying compliance with the National Artist Program guidelines.

    

   The MOA must be wet signed by the proponent on all pages (excluding the notarial page) and printed in four (4) copies on legal-size bond paper.

    

   The proponent is responsible for submitting the completed MOA to the FDCP Main Office (7th floor, Mirax Tower 1, 2270 Chino Roces Avenue, Makati City). Once both parties have signed the MOA, the FDCP will notarize the document and return a copy to the proponent.

    

   The MOA must be finalized BEFORE the start of production or publishing.

    

3. ​​​​​​The Program Officer will coordinate with the proponent regarding the processing of the approved assistance. A briefing will be conducted to address the technical details and ensure the proponent fully understands the requirements and procedures associated with the grant.
4. The production or publishing timeline must align with the timeliness stated in the MOA. Any changes must be communicated to the NAP Officer via email, with an official request submitted to the FDCP Chairman and CEO for approval.
5. Projects must be completed within one (1) year from the MOA signing date. Final deliverables must be submitted as part of liquidation and verification.

• National Artist Program General Guidelines

What can I watch on JuanFlix?

Users will be able to watch curated short and full-length films, ranging from special premieres, notable classics, and modern masterpieces from the local and international cinema scene on very affordable subscription rates.

What can I watch on JuanFlix?

Users will be able to watch curated short and full-length films, ranging from special premieres, notable classics, and modern masterpieces from the local and international cinema scene on very affordable subscription rates.

How can I access the JuanFlix?

The JuanFlix can be accessed via https://juanflix.com.ph/ through web browsers running on internet-capable devices such as desktop computers, laptops, tablets, and smartphones.

HOW DO I REGISTER?

1. Go to the JuanFlix website: https://juanflix.com.ph/.

2. Choose your desired subscription.

3. Pay for your subscription through PayMongo using GCash, credit card, or debit card.

The Cinematheque Centres are found in the following locations:

• Cinematheque Centre Manila - T. M. Kalaw St. Ermita, Manila
• Cinematheque Centre Iloilo – Iznart cor. Solis Sts. Iloilo City
• Cinematheque Centre Davao – Palma Gil St. Davao City
• Cinematheque Centre Zamboanga – Veterans cor. Legionaire Sts. Zamboanga City
• Cinematheque Centre Nabunturan – Nabunturan, Compostella Valley
• Cinematheque Centre Negros – Bacolod City, Negros

The Cinematheque Centres showcases monthly thematic films which are curated by the central programming committee along with classic and contemporary films for special partnerships. It also partners with the Development Support Division to hold regular film education workshops on directing, scriptwriting, editing, cinematography, and all other aspects of filmmaking.

The Cinematheque Centres allow venue rentals for events and other activities that are in line with FDCP’s mandate and thrusts to further develop the film industry. A minimal fee is collected depending on the negotiation with the event coordinators. Partnerships are very much welcome.

The standard rental fee for the use of the Cinematheque Centre Manila is P1,500/hour and P 1,000 for regional Cinematheque Centres.

Venue rental includes the following amenities:

• Use of the theatre including lobby and gallery; display of exhibit is subject for approval
• House Manager and front-of-house staff, Technical Operator
• Basic light set-up: stage lighting
• Basic sound set-up; 2 wired microphones, 2 wireless microphones. Event organizer must provide for the battery (9V).
• DVD/Bluray player

Availability

As the management body of the theatre, the Cinematheque Centre Manila has first rights to its use for events, screenings and other functions. While this does affect the availability of the theatre for outside events, we do want to share our beautiful space and so will work with you and do our best to accommodate your needs.

Accepted Usages

The space can be used for workshops, exhibitions, artistic performances, celebrations or other uses subject to the approval of the Cinematheque Centre Manila management.
Reservation Deposit

A reservation deposit of 50% of the total rental fee must be paid to reserve the date for your event. The total amount must be paid at least three (3) days prior to the agreed date of event.

Cancellation

In the event of a cancellation, the Cinematheque Centre reserves the right to charge a cancellation fee of 20% of the agreed rental fee. The Cinematheque Centre must be notified of cancellation at least one (1) day prior to the event. Failure to notify would result in forfeiture of payment. Should the Cinematheque Centre be not able to accommodate the event, the reservation deposit will be fully refunded.
 

DAY 1 | September 16, 2021 (Thursday)

Keynote Address: The Film Industry, Today and Tomorrow

Speaker:

• Stephen Jenner | Vice President, Communications, Asia Pacific Region - Motion Picture Association 
  The adversities brought by the pandemic have enormously transformed the audiovisual industry globally. This keynote address from the Motion Picture Association which serves as the leading advocate of film, entertainment, and streaming industry around the world, will focus on reviewing the major trends of the global film, television, and streaming industry, the emerging opportunities for filmmakers, and the various challenges to further growth of the film industry.

Masterclass 1: Writing Essentials: Mastering Your Ideas for Screenwriting

Speaker:

• Samantha Horley

  Loglines, synopses, and mastering your genre are some of the key elements in writing a good script. In this writing masterclass with an international film writer and consultant, learn how to start with an idea, understand your genre, write a synopsis in the tone of your overall script.

Session 1: Nurturing Your Narratives Through Film Labs

Panelists: 

• Dew Napattaloong | Lab Manager, SEAFIC Lab
• Angelica Cantisani | Project Manager, Torino Film Lab
• Izabela Igel | Head, Full Circle Lab Philippines
   

Moderator:

• Gale Osorio | Producer

  Film labs are essential training platforms for filmmakers to further strengthen and elevate their talents and projects in development. This gives them the chance to network with various industry players either local or international and explore collaboration and making films together. This talk will introduce you to significant film labs in the world and how you can take part in them.

Session 2: Accessibility Amidst Uncertainty: Essentials on Film Financing

Speaker:

• Weijie Lai | Producer

  Securing funding for your film project especially with international partners can be tough work for producers, but there are widely available practical selections that are being offered. This session will delve on several ways on how an ASEAN project can take advantage of the resources available to secure their film funding through grants, tax incentives, gap financing, pre-sales, and the new approaches in the reality of the new normal in the industry.

Masterclass 2: Unveiling Success Behind Documentary Co-Production

Speaker:

• Alexander Nanau | Producer

With such rich history and diverse narratives in the Philippines, documentary films  have been making waves locally and internationally. As it is hard enough to secure international co-productions for feature films, it can be a lot more challenging to acquire this for documentary films. Filmmakers must have a significant amount of commitment, time, and necessary funding in producing. This session will delve on the nuances, process, and opportunities in pursuing international co-productions for documentary films.

DAY 2 | September 17, 2021 (Friday)

Session 3: To the Next Level: Fundamentals of Dossier Making

Speaker:

• Armi Rae Cacanindin | Producer

A well-prepared dossier that stands out is one of the key elements that a producer needs to have in order to create opportunities for international partners and collaborators to notice their project.  In this session, you will learn how to put together a good dossier with your project details, statements, and financial plan, and how to develop them to an international standard.

Masterclass 3: To the Next Level: Fundamentals of Dossier Making (Consultation)

Speaker:

• Armi Rae Cacanindin | Producer

An exclusive dossier making masterclass and consultation with Filipina based producer, Armi Rae Cacanindin. She received funding for her feature films from highly competitive grants such as Aide aux Cinéma du Monde, World Cinema Fund, Sundance Film Institute grant,  IDFA Bertha Fund,  Doha Film Institute post grant, Purin Pictures grant, Asian Cinema Fund, Hubert Bals Fund, Vision Sud  Est, Torino Film Lab, SGIFF’S SEA-DOC fund and the recently launched ICOF and ACOF by the Film Development Council of the  Philippines. This exclusive 2-day masterclass is open for Filipino filmmakers and producers with projects in development. Selected projects will have the chance to consult their projects for FREE with limited slots.

Session 4: Filming With the ASEAN Region: The Future of Film Funding and Grant Opportunities

Panelists:

• Mil Alcain | Unit Manager, FilmPhilippines
• Cynthia Chong | Singapore Film Commission
• Aditya Assarat | Funding Director, Purin Pictures
• Sara Juricic | Coordinator, Hubert Bals Fund

Moderator:

• Bianca Balbuena | Producer

From story development to distribution, international institutions and organizations aim to support and  empower content creation through diverse co-production initiatives. This panel will delve into the insights of representatives from FilmPhilippines, Singapore Film Commission, Purin Pictures, and the Hubert Bals Fund and how their funding opportunities enrich regional collaboration to produce quality and diverse films.

Masterclass 4: Packaging Your Films for Release

Speaker:

• Katarzyna Siniarska | Sales Agent

Streaming platforms have been definitely changing the panorama of cinema. To keep the subscribers and audience growing, platforms continually seek  content and with this aggressive demand, content providers must be equipped with necessary understanding of the business models available and how they can penetrate targeted distribution platforms. In this session, we will learn more about licensing deals and practical tips on how to package your content for licensing.

Masterclass 5: Finding the Right Tune for Your Film Pitch

Speaker:

• Naomi Levari | Script Editor, Producer 

With the extensive reach of co-production opportunities virtually through several online film markets and festivals, film labs, and other programs, producers and filmmakers have paved the way for their projects to transcend beyond their countries. In this talk, we will learn viable tips that producers can utilize in order to elevate their film pitch presentation to potential partners and collaborators.

DAY 3 | September 18, 2021 (Saturday)

Session 5: Backstage Access: Bringing Philippine Animation to the World

Panelists:

• Tanya Yuson | Producer
• Budjette Tan | Writer
• Avid Liongoren | Director
• Manny Angeles | Producer

Moderator:

• Magoo Del Mundo 

With the recent successes of original Filipino animation contents, the Philippine animation sector continues to gain global traction in the industry. The first Filipino Netflix animated film, “Hayop Ka! The Nimfa Dimaano Story”, was selected to be part of the main competition in the biggest and most prestigious animation festival in the world, the Annecy International Animation Film Festival in France. Meanwhile, Philippines’ first-ever Netflix animated series “Trese”, a crime-horror series based on a Philippine graphic novel created a buzz not only in the Philippines but also in Hollywood. Let’s hear from the creators as they share their experiences and journey in bringing Philippine animation to the world.

Masterclass 6: Forging Paths for Wider Reach: A Guide to Film Marketing

Speaker:

Boris Pugnet | CEO, Tiramisu & Marketing Director, Ex Le Pact

Marketing your film can be gratifying and overwhelming at times especially since it is fundamentally changing. It takes a lot of work to tailor fit your marketing game plan and reach your target route and audience. This session will explore and equip you on how you can devise new strategies in marketing and promoting your film in these unprecedented times.

Session 6: Shaping the New Landscape of ASEAN Film Industry

Panelists:

• Liza Dino | Chairperson and CEO, Film Development Council Philippines
• Joachim Ng | Director, Infocomm Media Development Authority - Singapore Film Commission
• Kim Young-Jin | Chairperson, Korean Film Council
• Ahmad Idham Ahmad Nadzri | FINAS
• Umasiri Taron | Deputy Secretary General, The National Federation of Motion Pictures and Contents Associations, Thailand
   

Moderator:

• Lorna Tee | Producer, Co-Founder of Festival Management, International Film Festival Macao 

The pandemic has immensely shaken the film industries of a lot of countries,  from creation to consumption. Despite the challenges, industry support from the ASEAN and Asian film commissions continues. As part of the ASEAN-ROK workshop series, this panel will highlight  the state of the ASEAN and ROK film industries and the plans of film commissions to support and guide their industries in recovering and thriving post-pandemic.

Session 7: Next Big Thing: A Closer Look on Film Strategies and Trends

Speaker:

• Sten-Kristian Saluveer | Strategic Advisor, NEXT - Innovation Sidebar, Marché du Film - Festival de Cannes 

This session with the head of Cannes Next, Academy Award nominated audiovisual media innovation, and policy strategist will focus on the expected trends and waves in the world’s film industry as it recovers from the pandemic especially in film markets such as Marché du Film of Festival de Cannes.

DAY 4 | September 19, 2021 (Sunday)

Session 8: Preserving for the Future with Film Archiving

Panelists:

• Leo Katigbak | Head, ABS-CBN Film Restoration
• Don Gervin Arawan | Head, Philippine Film Archive
• Tina Tubongbanua | Head, Licensing and Acquisition, Viva Communications, Inc.
• Karen Chan | President, South East Asia Pacific Audio Visual Archives Association
   

Moderator:

• Jag Garcia | Film Educator

The advancements in film archiving and restoration have brought about significant changes and opportunities to save and preserve more film and audiovisual content. In this panel, learn directly from the representatives of film archive organizations and platforms on their programs and efforts to ensure the survival and preservation of our local and regional film heritage.

Masterclass 7: Reality Check: Transformations in Film Distribution

Speaker:

• Vincent Quek | CEO, Anticipate Pictures Pte. Ltd.

In a rapidly evolving landscape of the industry, film distribution has been shifting radically. Given the changes in platforms and audience behavior, filmmakers must establish effective ways to pivot from the traditional structure of distribution of their content to  adapting to new distribution models to reach the worldwide audience. This session will dig deeper into the new strategies and opportunities in distribution and how we can adapt to its new models.

Session 9: Netflix: Bringing Filipino Stories to Audiences Everywhere

Panelists:

• Malobika Banerji | Director of Content for Southeast Asia, Netflix
• E del Mundo | Executive Producer, “My Amanda”
• Tanya Yuson | Producer, “Trese”

Moderator:

• Madonna Tarrayo | Producer 

Netflix is the world's top streaming provider of film and television with hundreds of million paid subscribers in more than 190 countries. This session with Netflix will delve on the opportunities of bringing your local content to the global market.  

Session 10: From Local to Global: Behind the Scenes of International Distribution

Panelists:

• Michelangelo Masangkay | General Manager, Raven Banner Entertainment
• Armi Rae Cacanindin | Producer
• Quentin Bohanna | International Sales Executive, MK2 

Moderator:

• Ed Lejano, Festival Director, QCinema International Film Festival 

Even with the recent challenge for filmmakers, producers, sales agents, distributors, and audiences brought about by the pandemic, Filipino films are still finding opportunities for global distribution. In this session, international distributors and sales agents together with Filipino producers share their experiences, challenges, and new trends in getting your films distributed in these novel times.

Session 11:

• Pressing Forward: Building Strategies Towards the Future of Film Exhibition

Panelists:

• Gian Vizcarra | KTX
• Dondon Monteverde | Founder/Owner, Upstream
• Vincent Nebrida | Executive Consultant, TBA Film Studios
   

Moderator:

• Alemberg Ang | Producer 

 
As the uncertainties brought by the pandemic continue to restrict people indoors, film and television production companies have been developing their own streaming platform services with content being made with the intent of releasing online without plans of a big-screen release. But how would this affect the cinemas?  Can cinemas and streaming platforms coexist? In this session, we learn more from the platforms and cinemas themselves on how they see the future of releasing films to the public. 

• Any genre
• Themes that are not pornographic and/or portraying the Philippines in a negative light
• Does not promote violence that threaten the national security

Both local and foreign production companies are eligible to apply.

Note: It is highly recommended that foreign producers have a local partner to facilitate documentary requirements and other on-ground production requests from partner government agencies.

• Accomplished FLEX form
• Letter of request addressed to Hon. Jose Javier Reyes, Chairman and CEO
• Project dossier
• Filmography of the main production company and filmmaker

If applicable

• Proof that the foreign company is eligible to conduct business (e.g. business permit)

• Full-length and short films (live-action, animation, or documentary )
• Scripted series (live-action, or animation), of minimum 24 minutes per episode
• A co-production project between the Philippines and any foreign country
• Has 60% secured financing (excluding possible support from ICOF)
• Project that will begin its principal photography, animation production, or post-production within one (1) year from its date of selection
• Project that will be completed within one (1) year and nine (9) months from the date of selection
• Projects that production, post-production, and/or  animation is will be wholly or partly made in the Philippines

Filipino production companies or animation studio that meet the following qualifications:

• Organized and registered as a business in the Philippines
• Accredited by the FDCP National Registry
• Co-producer of an international project with a foreign production company
   

Note: Applicants will be considered ineligible for funding if they have overdue and/or outstanding deliverable(s) for a project that received funding from any of FDCP programs

• Any genre, except for pornography  
• Does not contain issues that are insulting, offensive, and/or portraying the Philippines in a negative light
• Does not promote violence or pose any threat to the national security
  Requirements
   

All materials submitted must be written or translated in English.

• Fully accomplished provisional application form (form provided)
• Foreign co-producers’ proof of business
• Notarized co-production agreement between applicant and foreign co-producers
• Proof of secured financing (contracts, certificates, etc.)
• Copy of the script (if applicable) and/or project treatment
• Project dossier
• Vision statements of the producer and filmmaker
• Recorded pitch
• Copy of National Registry for Company (NRC) certificate

If applicable:   

• For original work: A copy of the scriptwriters’ authorized agreement
• For adapted work: Authorization letter from the copyright holder
• For post-production applicants: A minimum of 30-minutes rough cut​
• For projects with distributor: Evidence of distribution or broadcast in the Philippines and/or abroad​
• Completed cultural test (form provided)

Qualifying Philippine Production Expenditures or QPPE is the fund’s allowable expenditure incurred in the Philippines for the purposes of producing and making the project, pursuant to FPI guidelines.

This covers all qualified expenses from principal photography to post-production/animation that were incurred from the date of confirmation of complete application (Provisional notification letter) up to the date of confirmation of complete final verification. Enumerated below are the allowable expenses under QPPE:

• Rights Acquisition  
• Salaries, Wages, and Social Contribution
• Technical Goods and Services  
• Project Related Overheads
• Post-Production and Animation
• Accommodation
• Meals  
• Transportation and Travel Expenses
• Legal Costs  
• Producer’s Fee (10% of the Fund amount) 

All expenses must be paid by the applicant’s company in Philippine peso through a Filipino registered businesses and/or individuals. Final and complete QPPE audited report and Certified True Copy of all original documentary requirements like receipts, invoices, and service contracts, of at least 50% of the fund (inclusive of the cultural bonus if applicable) needs to be submitted to the FDCP for cross-checking.

Applications for ICOF will be evaluated based on the following criteria:

• Degree to which the Filipino producer participates in the overall production of the work​
• Global appeal and quality of the project ​
• Degree to which the work contributes to the Philippine film industry ​
• The financial strength and stability of the project ​
• Degree to which the work promotes the Philippine culture and territory with the cultural test ​
• The international distribution potential through festival, theatrical/VOD release and platform to reach international audiences ​

Successful applicants of ICOF can receive a fund from:

• Php 3Mn up to Php 10Mn (approx. USD 53,000 up to USD 180,000) for feature & animated films
• Php 1Mn up to Php 5Mn (approx. USD 18,000 up to USD 90,000) for documentary
• Php 4Mn up to Php 10Mn (approx. USD 70,000 up to USD 180,000) for TV/VOD series (one season). 
  
   

A guaranteed bonus of Php 1Mn (approx. USD 18,000) will be given to selected projects that are co-produced with another ASEAN country aside the Philippines

An additional bonus will be added to the fund amount of selected projects that passed the cultural test:

• Php 2Mn (approx. USD 35,000) for feature and animated films or series seasons
  Php 1Mn (approx. USD 18,000) for documentary

The application periods for submission for FPI are as follows: 

CYCLE 1
Application period: JANUARY to FEBRUARY
Selection and Deliberation: MARCH


CYCLE 2
Application period: JUNE
Selection and Deliberation: JULY to AUGUST

In the event that the Film Philippines Incentives budget for the year has already been exhausted, the succeeding application period of that year will be closed.