Many plans need to be filmed in Antarctica. How does a camera respond to such extreme temperatures? For example, what about preparations for filming where the runners can’t escape to the shop immediately when the battery pack dies? As we found, how do you leave one of the most pristine and protected environments on the planet?
These are one of the questions the team behind Robert Connolly’s trembling trembling is engagingly tackling, based on Nikki Gemmel’s 1997 novel. The Antarctic drama is a hallmark of the first Australian story to be filmed on the continent, and is one of 18 projects announced to receive production funds from Screen Australia.
In total, the agency announced $12.8 million in funding across 46 story titles. It is divided into production and development support spanning 30 movies, 8 TV series and 8 online series.
Other projects that will receive production funds include a new comedy series for ABC starring Anne Edmonds and Bad Company’s Kitty Flanagan. Stan and ITV Studios’ crime mystery series The Killings: Parrish Station; and an Australia-Canada co-produced on a star set in the Sri Lancan community in Melbourne.
Development is based on the web series Shilling It, based on the fictional version of Tony Armstrong, and the six-part premium drama Florence, based on Hoodlum Entertainment, produced by Bazmark and iconic designer Florence Broadhurst, produced by executives.
Louise Goff, director of Screen Australia’s story content, tells us whether the diversity of offerings on the slate should talk to different Australians in a variety of ways, but it also has global traction.
“There’s that range,” she says.
“We highlight a number of projects that we think will speak to the ingenuity and originality of Australian talent.”
Anne Edmonds and Kitty Flanagan will be appearing in ABC’s “Bad Company.”
Speaking to Shiver, Gough, the team including Connolly along with producers Liz Kearney and Kate Laurie have already completed the RECCE, coming up with rigorous research and preparation, innovative production methodologies, and establishing the most stringent environmental protocols for filming. Following the transformation as a young journalist challenges the vast wilderness, she expects a film that is not only visually stunning, but also theme-rich.
“It’s one of the world’s most extraordinary and fragile landscapes, a bigger story set in it against it,” she says.
“And the conversations in the work – of course, love stories are at the heart of that, but the concept of journalism, environmentalism, how you can reduce and rise individuals when you’re in such a huge, fresh landscape.”
Gough expects Armstrong’s web series Shilling to be “an interaction that matches your enthusiasm,” and is ecstatic about the “comedy monster” of Edmonds’ bad company set on the theatre company’s walls at the edge of bankruptcy.
“I enjoy my comedy, but when you’re reading the application and already slap your knee, that’s a pretty good sign,” she says.
Stans the Killing: Created by Ben Jenkins and produced by Helium, Parish Station sees a horrifying massacre plunging detectives into mysterious decades of mystery at a remote research station.
According to Gough, the way the series connects the past and present, Mia Wasikowska and Heather Mitchell’s past and present connects the past and present gives the series a “great mystery engine.”
“I think it will be really exciting for Australian audiences to help creators and writers like Ben nail the premise and deliver it in such a sophisticated way.
Gough mentions a collaborative production on the growth of the entire application. She is keen to see more authentic “shared stories” like they’ve been written, written and produced by Australian Menik Gooneratne and directed by Canada’s Forzia Mirza.
“One thing that excites me is that in the collaborative productions we are building on… in this case, it’s a story that actually connects the South Asian diaspora in Australia and Canada.”
From the perspective of other trends, Gough observes that more private investments will appear in the project, such as “whether it is for social impact, for the audience, for themes, or for the beliefs of creative voices,” and “very aggressive pursuits” by feature film producers and world sales agents of a promising generation of creatives.
All projects announced today received funding based on fiscal year 2024/25, and Screen Australia is currently considering the first project of the year under new guidelines.
The agency has revived support for short films, and is currently offering Lois (Intent’s letter) to feature projects that are under $5 million, while Screen Australia is also leveraging “first” funds to support market attachments.
Gough says the new funding channel is highly welcomed by the industry. Interestingly, sales agents are very positive about the prospects of Screen Australia offering LOI, and Gough expects to “internationally leaning towards projects and practitioners” by making Screen Australia the first.
Supported projects include:
Supported projects include:
Shiver: From director Robert Connolly, Shiver features the first Australian story filmed in Antarctica. Based on Nikki Gemmell’s acclaimed novel, this adaptation follows the deep transformation of a young journalist who challenges the vast and vulnerable wilderness of Antarctica. Produced by Liz Carney and Kate Laurie along with Connolly. With support from Mindeoo Pictures, we are jointly receiving a large production investment from Screen Australia in collaboration with Vicscreen. International sales by Hanway.
Bad Company: A six-part comedy series from Speculation TV created by comedian Anne Edmonds. Set amidst the crumbling walls of iconic theatre company on the brink of bankruptcy, the Bad Company is directed by Tom Peterson, produced by Andrew Walker along with executive producers.
Kevin White (Rosehaven), Edmonds and Ben Grogan. It has received major production investments from ABC and Screen Australia and is funded in connection with Vicscreen. International sales based on guesswork.
Written on the Star: The Australian and Canadian features based on Su Dharmapala’s novel The Wedding Season fit the screen of Menik Gooneratne. A celebration of the Sri Lankan community in modern Melbourne, this heartwarming rom-com explores the universal themes of love and destiny. It features an all-South Asian cast led by Australian actor, writer and producer Gooneratne. The star is directed by Fawzia Mirza and produced by Leanne Tonkes, Andria Wilson Mirza, Melissa Russo, Jenni Tosi, Marc Tetreault and Jason Levangie. It has received a large production investment from Screen Australia in connection with Telefilm Canada’s production program and Vicscreen. Local distribution by Maslow Entertainment.
Murder: Parish Station: A six-part series written and written by Ben Jenkins in Helium Pictures, directed by Daniel Netttim, author and story producer Tim Pie and writers Yolanda Ramke and Katherine Smith McMullen. The mystery of the universe is intertwined with fear as a horrifying massacre in a remote laboratory. The series is produced by Kelly Mainwaring and executives, produced by Helium’s Mark Fennessy and Stan’s Donna Chan and Andy Ryan. It has received large investments from Screen Australia and Screen NSW in connection with ITV Studios and is distributed internationally by ITV Studios.
February 2: Director Fadia Abdo works with Powerhouse Parramatta to bring out a science fiction drama from western Sydney to explore the lives of five ordinary people working on a potential apocalypse. Produced by co- and executives Annabelle Davis and Kari Reid, produced by Sheila Jayadev. 2 Moons is a multi-writer feature with plots woven from five writers, including James Elazzi, Gabriel Faatau’uu-Satiu, Andrew Undi Lee, Randa Sayeed and Danielle Stamoulos. Screen has received a large production investment from Australia.
Schilling It: The six-part satirical web series in the development of creators Henry Stone and Tony Armstrong, centered around a fictional version of Armstrong, is caught up in an ethical tug of war in which the Australian television personality lends his name to dangerous social media content brand deals. Over six ten-minute episodes, Tony navigates fame and influence, trying to maintain personal integrity. Schilling is co-written and manufactured by Tony Armstrong and Henry Stone, and is directed by Stone.
Martini Mama: A comedy character about facing the past, regrets, and navigating changes from director John Sheedy. Written by Christopher Gist, Martini Mama is produced by Julie Ryan, Ali Harrison and Kate Whitbread. With support from Sanctuary Pictures, KW Films and the Adelaide Film Festival Investment Fund, we are jointly receiving production investments from Screen Australia with Fandomodo and Vicscreen. Local distribution through international sales by Umbrella Entertainment and Upgrade.
Florence: A six-part premium drama series in the development of Hoodlham Entertainment, based on the true story of iconic and enigmatic designer Florence Broadhurst. From co-creators Emma Freeman and Michael Lucas, the story unleashes the lives of women who irreparably change Australian style. Kerrin McNeil and Tracey Robertson are produced along with executive producers Bazmark, Tracey Vieira, Nathan Mayfield, Sarah Mak and David Lloyd-Lewis.
Bloom: A five-part web series written and directed by Stephen de Villiers and Alice Yang, follows 16-year-old Jasmine and suffers a cancer diagnosis and emotional and physical sacrifice. Released on YouTube and other platforms, Bloom is produced by Chloe Gardner, Robbie Greenwell and Maisie Fabry.
Two new screens Australia-funded original children’s series have recently been announced, ABC, Happy House
Cape Roo will be screened in 2026.
