More screens. Less seen.

Digital distribution is changing how we see cinema but not who is making it. Without new strategies for production and audience engagement, independent artists and filmmakers risk being left behind in the rapidly transforming landscape.

Attagirl is a unique solution to a markedly complex problem. Over ten months, twelve international filmmaking teams will develop works of narrative fiction along with skills of creative entrepreneurship to design, attract and convert target audiences. Notable experts from the film marketplace, corporate and third sectors will provide mentorship to unlock new possibilities for collaboration, investment and delivery ensuring the future of film is innovative, engaging and importantly, equal.


Over the course of ten months and three workshops, participants will be challenged to develop distinct, viable and innovative approaches to their story, distribution and financing strategy. The course content is delivered via a mix of 121s, masterclasses, case studies and independent study, all aimed at committed, creative professionals.

Workshop One – September 10-19 2020
Championed by TIFF’s Share Her Journey Campaign
Story, Structure, Development Case Studies, The Film Value Chain, Market, Pitching

Workshop Two – January 2021
Data, Digital Distribution, Theatrical Futures, Audience & Exhibition, Positioning Strategy and Marketing, Innovation and Impact

Workshop Three – June 2021
Championed by Sydney Film Festival
Branding, Financing, Philanthropy, Purpose-driven Partnership, Packaging, Career Planning, Public Pitches

Exact start and end dates of workshops will be confirmed and updated in the coming weeks.


To prepare participants for the realities of content production within an increasingly digitally-driven single market, Attagirl focuses on exploration of three pedagogy pillars – story, audience and market. The result of compounding, non-linear modules will be the creation and delivery of packaged films exemplifying the three outcome pillars – distinction, viability and innovation.

For clarity, the pillars are defined in the following ways:

Pedagogy Pillars

  • Storywho is your film for?
  • Audiencehow will you reach them?
  • Marketwho will fund your film?

Outcome Pillars

  • Distinction – the unique appeal of story and film package
  • Viability – the capacity to deliver results
  • Innovationthe ability to lead, not follow

Applicants are advised that these elements are equally weighted in assessment so should be considered of equal importance. Content may be King. But Delivery is Queen.

Further details including the Assessment Rubric is included in the Quicklinks below, so keep scrolling.


Total cost per applicant is $10 000AU. Applications require two applicants making the minimum team contribution $20 000 AU. Fees cover the following:

  • Course content, mentors, consultants and materials
  • Festival accreditations
  • Flights (Workshop 3)
  • Accommodation (Workshop 3)

Courtesy of Australian state and selected international screen agencies, selected participants will have their program fees partially or fully subsidised. Participating agencies

  • British Film Institute
  • Telefilm Canada
  • Swedish Film Institute
  • New Zealand Film Commission
  • Screen Queensland
  • Screen NSW
  • Film Victoria
  • South Australian Film Corporation
  • Screen West
  • Screen Canberra
  • Screen Territory

If your state, territory or international agency is not listed, applicants will need to outline how they intend to meet this cost at the time of application.



Teams must include fifty-percent female or non-binary talent within above-the-line roles. This percentage will be calculated according to the total number of team members rather than percentage of roles, meaning that co-writers, co-directors and/or multiple producers will affect the overall percentage.

Above the line roles are defined as:

  • Writer
  • Producer
  • Director

Given the statistical disparity between male and female/non-binary directors, applications with under-represented creatives in the role of director will be deemed highly favourable in assessment. Where two submissions are scored equally, the gender of applicants will be considered as a determining factor in both stages of assessment. Applications with a female/non-binary director will be selected over competing applications with a male director.

For the purposes of clarity, the below diagrams outline possible team configurations that could be eligible for submission:



Applications open July 22 and close midnight AEDT 16th August, with a two-stage assessment process:

Stage One

  • One page synopsis
  • One page finance plan
  • One page audience design or distribution outline
  • Three minute video pitch

Following Stage One assessment, a shortlist of applicants will be invited to submit secondary materials in Stage Two.

Stage Two

  • Full script or story document
  • Budget and finance plan
  • Distribution and marketing plan
  • Virtual interview (if necessary)

All elements are given equal weighting in assessment and applicants are reminded to thoroughly consider the program’s ‘three pillars’ when collating submissions.