Sundance Film Forward is a touring program which introduces a new generation of audiences to the power of story through the exhibition of film and conversations with filmmakers to create greater cultural awareness.
Showcasing a wide variety of story and style, the Sundance Film Festival Short Film Tour is a 95-minute theatrical program of eight short films from the 2016 edition of the January Festival
Utah Community Events
Programs for Utah audiences to experience independent film, theatre, and music through free screenings and discussions.
The Sundance Documentary Film Program supports non-fiction filmmakers worldwide in the production of cinematic documentaries on contemporary themes. Established in 2002 with founding support from Open Society Foundations, the Program is a vibrant global resource for independent non-fiction storytelling. Recent projects include Joshua Oppenheimer's The Look of Silence, Laura Poitras' CITIZENFOUR, Nanfu Wang's Hooligan Sparrow, Sabaah Jordan and Damon Davis' Whose Streets?, Kirsten Johnson's Cameraperson, Kitty Green's Casting JonBenet, and Raoul Peck's I Am Not Your Negro.
Led by Tabitha Jackson, the Documentary Film Program believes that art changes the way we reach people. We focus on those values of Art, Reach and Change through encouraging excellence and experimentation in form; championing under-represented voices; facilitating the strategic distribution of grantee projects where needed, and supporting the social and creative impact of this work upon release.
In summary, the year-round support of filmmakers through the granting fund, the labs, a fellows program and strategic advice from development to distribution amounts to a commitment to documentary as an increasingly important global art form and a critical cultural practice in the 21st century.
The Documentary Fund Application is now OPEN. Click HERE for the application. The Documentary Film Program has eliminated all application deadlines. We accept and grant film projects throughout the year.
The Documentary Fund Application is now OPEN. Click here for the application.
UPDATED: Please be aware of our new application restrictions. Projects will ONLY be allowed to reapply ONE time after an unsuccessful application. The reapplication will not be accepted until projects have advanced to another stage of production.
The Sundance Documentary Fund provides grants to filmmakers worldwide for feature-length projects that display: artful film language, effective storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience. Preference is given to projects that convey clear story structure, higher stakes and contemporary relevance, forward going action or questions, demonstrated access to subjects, and quality use of film craft.
Categories of granting
Development(up to $15,000):There is no reel required with an application, but clips, teasers, trailers, or images are highly encouraged. A previous work sample is required.
Production/Post-Production(up to $40,000): Production/post-production grants provide funds to projects offering 10+ minutes of edited material for the project being proposed. The reel should convey the narrative and aesthetic approach for the final film. A previous sample work must also be included with the application.
Audience Engagement (up to $20,000):Audience Engagement grants provide previously granted projects funding for strategic audience and community engagement campaigns.
PROPOSAL MUST CONTAIN THE FOLLOWING ELEMENTS: (Page limits are suggested lengths only.)
Logline (2-3 Sentences) – Provide a brief, catchy summary of your story.
Story Summary / Synopsis (Approximately 1-2 pages) What is your story and story structure?
Give an overview of your story, introducing the main characters and potential plot points. Describe the anticipated story structure and narrative trajectory, or potential character arcs for your project. Discuss your access to the story and characters.
Topic Summary (Approximately 1-2 pages) Why is this topic important, timely, or relevant?Why are you the best person to make a film about this?
Explain the cultural or social relevance and context for the topic, and why this project is timely or urgent. Detail the topics, issues, themes, challenges, stakes, or questions that your project will cover.
Artistic Approach (Approximately 1/2 page) How are you going to tell this story?
Describe your creative vision for the finished project – its visual look and feel. Explain your intended use of cinematic language or any particular artistic approach that informs the storytelling. If applicable, mention any creative elements and assets, interactive elements, new technologies or non-traditional mediums that you intend to utilize. Explain how these elements will enhance the experience and interaction between viewers and the world of the story.
Project Stage (Approximately 1 paragraph)
Explain the current status of the project. Outline the projected production timeline from the project’s current state to the anticipated completion date. Your timeline should cover both the creative and production processes and should detail major project activities, production schedules, and anticipated post production and release dates. If you have applied before, please share how your project has progressed since the last time your applied.
Audience and Distribution Strategies (1 paragraph for each)
Distribution and Marketing Strategy Characterize the intended distribution life for your film. Specify plans for festival, theatrical, and/or community screenings, as well as plans for securing national broadcast and/or distribution
Describe the anticipated audience for your project, including any underserved audiences. How do you plan to reach your target audience? How have you addressed the needs and interests of this audience in your film? What is your relationship and access to this community?
Audience Engagement and Social Impact (if applicable)
Audience Engagement is a strategy designed to activate audiences and constituencies toward a specific goal. Not all films are suited for social engagement, but if yours is, what actions do you hope for viewers to take after seeing your film? Potential activities could include organizational partnerships, educational guides, targeted stakeholder/community screenings, social media strategies, multi-platform activity, or social change campaigns. Do you have partnerships with organizations in your issue area already, and if so, how are these relationships informing your project development?
Provide brief biographies (50-150 words) for the director(s), and if attached, the producer(s), cinematographer, or editor. Include notable credits and/or major recognition or award information. For each key creative, include information about relevant expertise and the individual’s role in the project. Do not send resumes, CVs or extensive filmographies. Bullet list any other advisors or consultants, if applicable.
Financial Info (1 paragraph for each)
Fundraising Strategy Describe the strategy for raising the additional funds necessary to complete the project. Include all sources and amounts raised to date. Clearly distinguish between potential sources of funding and secured amounts. List the status of other sources of funding currently under consideration, whether to be applied for or pending.
Foundation A ……… $X Secured
Private Investment A……… $X Secured
Foundation B ………. $X Applied
Broadcast License A ………. $X In Negotiation
Crowdfunding ………. $X In Process ( Campaign end date MM/DD/YY)
Grant Impact Amount requested? If you were to receive a grant, describe how the funds would be spent. In light of your total budget, how would these funds help you move forward with your project?
Visual Sample Please provide links and passwords for both samples in your written proposal. Note that we only accept links via online streaming sites. We do not accept links via file transfer sites such as Dropbox, WeTransfer, or Google Drive.
Director's Prior Work (1 paragraph) (required) The director’s previous work (any length or genre) is required. If a prior directing sample is not available, you may submit a film you have shot or edited. Alternatively, previous work from a key creative on the team will also be accepted. Note: A directing sample is not required for Audience Engagement applications. Describe the sample you have submitted, including its narrative, aesthetic, or communication intentions. Discuss the relevance of the work to the current project, if any. If the current project is a departure from the prior work, how will this film differ?
Current Sample/Rough Cut (1 paragraph) Required for production/post-production grant applications Provide necessary background and/or context for the work-in-progress. What should reviewers be looking for in your sample? Explain what is present or absent in the sample, and how it will differ as a finished film. How is it representative of the intended story, style, subject, or other aspect of the project? If you submitted a rough cut, what additional scenes do you need?
Director's Prior Work LINK AND PASSWORD
Current Sample/Rough Cut: LINK AND PASSWORD
Comprehensive Line Item Expense Budget Please list a breakdown of all expenses from development through release in U.S. dollars, including a grand budget total. You may view a sample budget by clicking here (pdf, excel). This sample budget is provided as a reference tool only, you may use your own budget format.
Contact Information Please provide complete contact information including a valid email address, telephone number and mailing address (in the country’s format). Contact information should be valid until AT LEAST December, 2017.
Grants are available for strategic activities that use your film as a tool to create social or cultural impact. Competitive projects are those that activate audiences and stakeholders with the issues in the film, and invite action and change. Strategies may be extremely simple, targeted and focused, or may have several components of a broad and far reaching campaign.
Grants range up to $20,000 and may fund an entire, discrete activity or may be a small part of a larger effort. Available only to current Sundance Documentary Film Program (DFP) grantees at any stage of pre-production, production and distribution, grants can be applied for through our Rolling Open Call. Grants are available for either PLANNING or for IMPLEMENTATION & EVALUATION.
APPLICATION CATEGORY (choose one)
Type A: Audience Engagement PLANNING
Type B: Audience Engagement IMPLEMENTATION AND EVALUATION
PLANNING GRANTS help you consult with topic/issue advisors to determine goals and outcomes; devise strategy; convene or interview partners or stakeholders; Audience identification and segmentation; Impact and evaluation planning (including determining base line data).
IMPLEMENTATION & EVALUATION GRANTS help you produce tools, technology, or materials; travel to campaign specific sites; conduct community screenings not covered by broadcasters, distributors or speaker’s bureaus; impact evaluation and measurement, other.
Distribution Background Facts Please list current distribution agreements for your film, if any. List only secured distribution agreements. If you are still in process on the film or have no distribution agreements you are still eligible to apply for funds.
Domestic or International broadcast agreements
Sales agents attached
Festival premieres (international and national)
National level awards
Home video distributors
Educational video distributors
Direct/Digital distribution with online vendors
Self distribution on your own website URL
Short-form content based on the film
Lengths are suggested, not required. Please use your existing materials.
STRATEGY (approximately 2-4 paragraphs)
PARTNERS (approximately 1 paragraph plus list)
TOOLS AND TECHNIQUES (approximately 1-2 paragraphs)
TIMELINE AND SUSTAINABILITY (approximately 1-2 paragraphs)
EVALUATION (approximately 1 paragraph)
You do NOTNEED to answer these reflection questions in your proposal, and you may have an entirely different strategy! The questions are designed to help you probe more deeply into your strategic design.
SOCIAL CHANGE GOAL AND STRATEGY?
What are the primary problems illuminated by the film?
What is the source of the problems? (greenhouse gases, campaign finance, health insurance industry, military industrial complex, gender, racial or sexual disparities in health, wealth, education or public accommodation law? Other)
What accomplishable change might make things improved? (Unless you have a big team/budget/timeline, consider narrowing your focus to something impactful, but bite sized.)
Who has the capacity to make concrete changes? (legislature, corporation, teachers, grocery stores, regulatory bodies, etc.)
Who can put pressure on this target? (voters, shoppers, share holders, professional associations or credentialing bodies, the affected community, a proxy community, etc.)
How might you inspire viewers to reach the target and their constituents? What might you ask viewers to do?
Would different audiences need distinct messages and suggested actions?
Is there a menu of actions for distinct audiences?
Is this engagement activity created with or supported by your partner organizations?
OR CULTURAL CHANGE GOAL AND STRATEGY?
What are the primary problems illuminated by the film?
What is the source of the problems? (greenhouse gases, campaign finance, health insurance industry, military industrial complex, gender, racial or sexual disparities in health, wealth, education or public accommodation law? Other)
Is the problem understood by many or few?
What values underlie problem (Poverty is the fault of the poor, domestic violence is a private problem).
What target group needs to feel invested in a cultural change in addition to those afflicted by the problem?
What values matter to your new target group? (Fairness, independence, family values, religious sanctity, law and order, American Dream, resourcefulness, etc.)
Can you harness those values to move cultural understanding of the problem?
How can you increase a sense of shared responsibility for the problem, and shared benefit from its solution (“Black Lives Matter”, “Je Suis Charlie”, “No H8”, “It Gets Better”, “Don’t be a Litter Bug”, etc?
What other cultural interventions might be employed (new super hero? Celebrity affiliation, etc.?)
Is this strategy created with or supported by your partner organizations?
Considering your strategic purpose or goals, which organizations are working in this arena with whom you might partner?
What type of organization are they? (membership, advocacy, policy/research, media, entrepreneurial, technological, educational, legal, etc. )
How could your film and campaign align with or forward their work?
How could the organization advance your campaign?
Please indicate whether partners are secured, approached, or intended.
TOOLS AND TECHNIQUES
Concisely describe tools or techniques you will utilize, if known. Why is the tool or technique you selected the most effective way to achieve your vision? The list below is merely descriptive, not exhaustive, and some projects may use none of these.
2D Engagement Material (study guides, quizzes, maps)
Onsite activity (targeted screenings (legislators, doctors), specially edited modules, site specific installation)
Product or Environmental Design (LED flashlights, solar cook pots, improved mosquito nets, public spaces/urban gardens.)
Social Entrepreneurship (micro-loans, mobile phone banking, “green” burials, mobile produce vans)
Community philanthropy (donate socks to border crossers, books or glasses to disadvantaged communities)
TIMELINE AND SUSTAINABILITY
What is the intended time frame and why (three months? two years?)
Are any “audiences” or communities engaged prior to seeing your completed film?
How will you know when your campaign is complete?
If your engagement project is not fully funded, what is the scaled down version of activity that would still reach a specific goal?
If significant opportunity to amplify impact were to arise, is there a scaled up version?
How might the work might continue after your engagement activity is completed and funding has ceased? Is there a partner who might take it over, if needed?
How will you define, and then measure, success? Consider impact on partners, audiences, or the constituency represented by the film subjects. You may measure anything in any way that best demonstrates your goals and outcomes.
Do you have baseline data (or partners that can provide data) against which to measure impact? Tools or techniques for baseline determination might include analytic tools and data sets; publicly available references including press coverage and Google analytics. Consider measuring cultural change impact through language use or modification (Global Language Monitor, etc.), entertainment industry reflections (action heroes not smoking), viewer testimonies, anecdotal evidence, etc. This list is descriptive not directive.
Do you intend to produce an evaluation dashboard?
ADDITIONAL REQUIRED INFORMATION
KEY PERSONNEL (1 paragraph each) Provide BRIEF biographies (approximately 50-150 words) for key personnel or consultants who will plan, implement or evaluate audience engagement activity. Please indicate their role. DO NOT send resumes, CVs, brochures or extensive filmographies.
What is the total budget amount in $US for Audience Engagement activity?
What is the total funds secured (if any) in $US for this activity?
What are the sources of those secured funds (list)?
Where will you seek additional funds? (list)?
What amount are you requesting from Sundance Documentary Fund?
LINE ITEM BUDGET (1-2 page) Please give a line item breakdown of expenses for Audience Engagement activity in U.S. dollars. A sample Audience Engagement budget is available for download here (PDF, Excel).
Invisible War Director: Kirby Dick Invisible War documents the epidemic of rape within the U.S. military, the institutions that perpetuate and cover up its existence, and its profound personal and social consequences. The Audience Engagement grant will help support and evaluate a campaign to engage the U.S. Department of Defense, specifically encouraging measures to radically reduce sexual assault rates, prosecute perpetrators, and support survivors.
Girl Model Directors: Ashley Sabin and David Redmon Girl Model follows a 13-year-old Siberian girl and the American scout who discovers her through the complex, global human supply chain of the unregulated and often murky world of the international modeling industry. The Audience Engagement award supports a girl-fueled campaign to encourage the Department of Labor to extend child labor protections to under age models.
25 To Life Director: Mike Brown William "Reds" Brawner kept his HIV status a secret for over twenty years. Now Will seeks redemption from his nebulous and promiscuous past as he builds his own family. Audience Engagement PLANNING GRANT will be used to convene stakeholder partners, assess and revise the impact strategy. The films' outreach goals: to help decrease unsafe practices among the target population, reveal complexity in adult relationships, and dispel fear and misunderstandings surrounding the epidemic.
Semper Fi: Always Faithful Directors: Rachel Libert and Tony Hardmon When Master Sgt. Jerry Ensminger’s young daughter dies from a rare type of leukemia, his search for the cause leads him to the shocking discovery of one of the largest water contaminations in U.S. history. The audience engagement award will support the effort to help notify a million families who may be affected by contaminated water on military bases, and help support targeted screenings for legislators interested in health care for affected veterans.
Crime After Crime Director: Yoav Potash Two attorneys fight for the freedom of Deborah Peagler, 20 years into her life sentence for the murder of the man who abused her. The audience engagement campaign will partner with policy makers, legislative organizations, and legal education groups to inform five other states about the successful California law that allows incarcerated survivors of domestic violence to petition for their freedom.
Q: Do you have deadlines? A: We have a Rolling Open. The move to a Rolling Open Call allows filmmakers to submit applications only when they can best demonstrate their artistic intent, rather than according to pre-determined deadlines. Sundance Institute reserves the right to solicit film projects at its sole discretion at any time related to Institute or Documentary Film Program priorities.
Q: At what point in my project should I apply? A: Submit your film only when you have written or visual material that demonstrates your creative and storytelling intent. You may submit at any production phase from development through post-production. ALL proposals MUST convey some vision for a finished film. Projects that have not yet secured characters or subjects, are unable to articulate a story structure, or unable to explain the story's driving central question are discouraged. We are unable to consider proposals for story research. You do not need any prior funding or a fiscal sponsor in order to apply.
Q: What kinds of films do you support? A: We support independent nonfiction films that display artful film language, effective storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience.
Q: What are some specific examples of films you have funded? A: Recently supported films include Citizenfour, Cartel Land, The Cinema Travellers, Whose Streets?, Strong Island, Casting JonBenet, and The Eagle Huntress.
Q: Is there an application fee to apply? A: No. It is free to apply.
Q: Who should apply? A: Independent filmmakers making cinematic non-fiction films from anywhere in the world are welcome to submit project proposals. Films may be in any language with English subtitles or transcript. First time filmmakers are eligible. Prior funding, fiscal sponsorship, and US producers are not requirements.
Q: I am a filmmaker from a country outside of the U.S. am I eligible to apply? A: Yes. We support Filmmakers globally without restriction.
Q: Is my project eligible for funding? A: We fund projects that are Feature Length Documentaries (52 minutes and longer). Hybrid/animated, and experimental documentaries are also eligible to apply.
We do NOT fund:
Q: Are short films eligible for funding? A: No. We currently only fund projects that will range in length from full broadcast hour (52-56 minutes, depending on the intended outlet) to long format features. However, full length films that will conduct versioning for educational modules, multi-platform purposes, or community engagement etc. are eligible overall.
Q: I am making a movie based on true events. Is my project eligible for funding? A: Fiction films, even based on true events, are not eligible to apply. If your characters are actors, or are reading a script, it is probably not a documentary film (re-enacted segments are fine as a small portion of a larger documentary film).
Q: My project is finished. Can I apply for funding to pay for film transfers or reimburse debt, etc.? A: No. Tape to film transfers, film prints and debt reimbursement to complete work are NOT eligible for funding. We generally do not provide solely completion funding.
Q: I do not have any funds secured to date, am I still eligible for funding? A: Yes. Prior funding commitments are not required. Your written proposal should include a Fundraising Strategy for raising funds for your film, irrespective of a Sundance Institute Documentary Fund grant. In addition to foundations and broadcast license agreements, you might include private donations, in-kind support, crowd sourcing, producer investment, and fundraisers. In your Fundraising Strategy, you should clearly distinguish between funds you have applied for and funds you have already secured.
Q: I am already into production but do not have a 10 minute sample, am I still eligible for funding? A: You may apply for funding in the Development category or choose to wait to apply until you have the necessary material. Production/Post-Production proposals with very short reels (or with only trailers, teasers, or brief selects) are simply not competitive against the longer rough cuts being submitted.
Q: I am a first time director. May I send in someone else’s work as my Completed Prior Work? A: A visual sample that conveys the director's storytelling ability is preferred. If this is a directorial debut, you may submit a film you have shot or edited instead, or a previous work from a key creative member of the team (e.g. editor, cinematographer), will also be accepted.
Q: How long does my completed prior work have to be? A: Completed prior work may be any length from short to feature. It may be in any genre. You must submit it in its entirety. We will not consider segments of different projects on one reel as the Directing Sample. If you have multiple prior works, or several co-directors, please select one previous work which best reflects the vision for your new documentary.
Q: Other than the Work-In-Progress sample and the Prior Directing Sample, are there any other video clips or samples that I need to provide? A: No.
Q. What format should I submit my visual material in? A: We ONLY accept samples via online streaming links. You MUST provide an online streaming link and password to your current rough cut/sample, and to your prior directing sample. We recommend using Vimeo (vimeo.com) for this service. When you register and upload your files, make your film downloadable. Your film should be available FOR AT LEAST 6 MONTHS after you submit your application. Please do not update or change your uploaded file or its password once you submit your application.
When you apply for a grant through our website, paste in your Vimeo link and password. Please double check that you have entered the password correctly (remembering that Vimeo passwords are case sensitive). If we do not have the correct password, we will not be able to evaluate your project. Include the Vimeo link and password in your written proposal, as well. Please note, we do not accept WeTransfer, Drop Box or other such file transfer services for the visual material delivery.
Q: Can I submit my visual samples on DVD? A: No. All samples MUST be submitted as a link via a streaming platform such as Vimeo or Youtube. NO DVDs will be accepted. IF you live in a country with significant impediments to internet access, you may email DFP@sundance.org to request a DVD exemption.
Q: What is meant by "Contemporary Cultural Relevance"? A: Please articulate what is timely and significant about your story, and how the stakes matter not only for your primary character but for broader audiences or contemporary cultures as well.
Q: What is a Story Summary? A: The Story Summary (or narrative synopsis) should convey the film's story and story structure. Describe the primary characters or subjects and their potential journey, the mission, stakes, central question and possible outcomes. You are welcome to describe any important artistic elements or creative approaches.
Q: What is a Distribution/Marketing Strategy? A: Outline the intended festival, theatrical, broadcast, home video, or educational distribution for your project. Your distribution/marketing strategy should be a concrete explanation of the best outlets for your particular film, and what you will do to have your film reach its intended audience. You do not need secured agreements in order to include them in your proposed strategy.
Q: What is meant by Audience Engagement? A: Audience Engagement is a strategic campaign to encourage individuals and communities to move from passive to active participants on the issue your film broaches. Engagement campaigns are distinct from distribution (which puts films on screens), and from marketing and outreach (alerting viewers to see films). Rather, engagement is designed to activate audiences and stakeholders toward a specific goal. Not all films are necessarily suited for social engagement.
Q: What is a Fundraising Strategy? A: Your Fundraising Strategy is your plan for raising your film budget. In addition to grants and broadcast license agreements, you might include private donations, in-kind support, crowd sourcing, producer investment, and fundraisers. A Fundraising Strategy should clearly distinguish between funds you have applied for and funds you have already secured.
Q: How long should the written materials be? A: We appreciate clear and concise language that still richly explains the intended film. The guidelines in the Proposal Checklist are suggestive. There is no word count limit.
Q: Does my proposal have to be in English? A: Yes. We can only consider proposals written in English, accompanied by a budget translated into USD, and visual material in English or with English subtitles or transcript.
Q: If I am applying for Development Funds, can my budget cover the Development portion of the project only? A: No. A budget covering the costs of the ENTIRE project from development through distribution is required for every funding category. This is a 1-2 page comprehensive line item budget in US dollars. If you have never made a budget and need a sample, you may access one here (PDF, excel). This document is only a general sample, and should be tailored to your project. You may also use your own budget format, so long as it provides the costs of the entire project.
Q: How are decisions regarding funding made? A: Proposals go through a multi-stage review, with selected submissions sent for Sundance Documentary Fund Committee consideration. The Committee then meets to make recommendations regarding which projects are funded. Proposals to the Sundance Documentary Fund are evaluated on artful or innovative film language, clear storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience.
Q: Who makes up the Committee? A: The Sundance Development Fund Committee is a combination of Human Rights experts and professional film artists. Past panelist have included Laura Silber (Open Society Foundation), Terry McGovern (Ford Foundation), Richard Pena (Film Society of Lincoln Center), Alan Jenkins (Opportunity Agenda), Cynthia Lopez (P.O.V.), and Academy Award nominees Arthur Dong, Kirby Dick, Jessica Yu, Rob Epstein, and Marshall Curry.
Q: What percentage of applications are actually funded? A: The review process is highly competitive. We review up to 1000 proposals annually, but will generally fund no more than 50. We fund between 4-5% of submissions.
Q: How will I know if the Fund has received my proposal? A: After you press submit on the online application, a confirmation page will appear. You should also receive a confirmation email once your application is submitted. If you have not received an email, please double check your spam filter and setting.
Q: When will I find out if I have been awarded a grant? A: Award decisions take two to six months. Please do not contact us to inquire about your status, as we can not provide status updates. Applicants will be notified by mail or email on a rolling basis, as decisions are made.
Q: If my project is declined, will staff provide feedback? A: No. Unfortunately, we have a very limited staff, and are unable to provide feedback.
Q: May I reapply for a grant if my proposal is declined? A: Yes. However, we will only accept a total of two (2) applications per project, so you may ONLY reapply when your project has advanced to a further stage of production. (e.g. A project in Development that is declined may apply once more, for either Production or Post-Production funds. An unsuccessful application for Production funds may reapply for Post-Production.) A project that applied for Post-Production may apply in Post-Production again.) Given the number of submissions received too early and resubmitted too quickly, filmmakers are strongly discouraged from submitting nearly identical proposals twice.
Please Note: Filmmakers who exceeded their attempts PRIOR to the new rules established in 2015 may re-apply once more.
Q: If my proposal is declined, what are the chances my project will be accepted if I reapply? A: We do not encourage the resubmission of projects that have previously been declined, as they are unlikely to be successful, unless they have significantly advanced the visual sample, story, and structure, as well as elevated and refined the artistry of the approach in order to demonstrate the merits of the film and the director’s aesthetic intent.
Q: If I choose to reapply, do I need to submit a complete proposal online? A: Yes. Should you choose to reapply, please apply online during our Open Call. Your new submission should reflect significant development of the project since last applying, corresponding with a later stage of production. You must submit new video links accompanying your proposal.
Q: Can I submit more than one proposal per cycle? A: Yes, you are allowed to submit more than one proposal in the same round as long as they are for separate projects.
Q: If I apply at the beginning of the Open Call period and my project is declined, may I re-apply later in the same year? A: Yes. Your second submission can be at any time, provided the project has advanced significantly and is in a different stage of production.
Q: If I apply for Development funding during this round and I get selected, can I apply for Production or Post-Production funds during the next round? A: If you are awarded a grant for one stage of production, you are still eligible to apply in a different stage, but only after significant further production activity, usually in a subsequent year.
Q. Can I provide project updates once my application is submitted? A. No. Unfortunately due to the volume of projects that we receive, we are unable to accept unsolicited updates to proposals or rough cuts. Please do not apply until your project is ready for review. Updates will not be processed and will not be considered in the evaluation of your project. Note, the Documentary Film Program reserves the right to request updates from projects at its sole discretion at any time during the round.
Q: If I receive a grant or award from another source, am I still eligible to apply for Sundance Funding? A: Yes.
Q: If I receive a grant from Sundance Institute Documentary Fund, will my film screen at the Sundance Film Festival? A: No. Grantees are encouraged to submit their completed work for festival consideration directly to the Program staff of the Sundance Film Festival, which selects films independently. Similarly, projects not selected for support by the Sundance Documentary Fund remain eligible to apply for the Sundance Film Festival directly.
Q: Does receiving a grant from Sundance Institute Documentary Fund preclude me from working with any broadcaster or distributor? A: No. Sundance Institute Documentary Fund awards are grants to the artist and do not encumber broadcast, theatrical, or DVD distribution rights in your project. Grants are generally considered partial support, and projects generally must seek other funding as well as license and distribution agreements in order to realize their budget.
Q: If I receive a grant, what are the terms of the contract? A: Grants are not recoupable, and none of your exploitable rights are encumbered. Our contract requests: acknowledgement in the end credits of the film and on your promotional materials, 6 copies of the finished film on DVD, and 1 presentation-quality master. We require narrative, financial, and distribution reports, and social impact reports, where applicable. We request your active participation in the Sundance Institute creative community through invitation-only activities to support you and your film, as well as to support other filmmakers and the independent film field globally.
Q: May I ask you to review an element of my proposal before I apply? For example, my website, trailer, or synopsis? A: No. We only review complete proposals submitted through our web upload.
Q: I still have questions. Can I call or Skype with you to discuss my film? A: No. Unfortunately, we are unable to respond to inquiries about our application process via telephone or skype. If you have read the entire FAQ and you still have specific questions, please email email@example.com and we will be happy to try and answer them.
Q: Where can I find additional answers to questions? A: You may send an email query with specific questions to firstname.lastname@example.org. Please understand that we cannot provide status updates. If we need additional information we will contact you.
Labs & On-Going Support
When a project receives a grant from the Sundance Documentary Film Program, the team is offered a host of informal and formal support opportunities to nurture the project’s development as well as the artist's career. They are also part of the growing, global Sundance Alumni community. In addition to ongoing consultation with DFP staff for strategic advice and creative feedback, grantees are also eligible for DFP creative Labs and fellowship opportunities. Grantees are also eligible for Sundance Institute cross-programmatic initiatives such as the Women’s Initiative and Catalyst Weekend (both are by invitation only). Grantees can also access services provided by Sundance Institute Artist Services and Alumni Programs.
DFP Creative Labs are unique, artist focused residential retreats that bring together a community of world-class documentary directors, editors and producers from around the world. At each Lab filmmakers work intensively with Advisors and staff in a spirit of experimentation to develop their projects, creative and practical skills in a supportive and nurturing environment.
The DFP hosts four Labs annually including two Edit & Story Labs, the Documentary Music & Sound Design Lab at Skywalker Sound, and the Documentary Creative Producing Lab & Fellowship. In addition we offer three Fellowship opportunities through the Fellows Program at the Sundance Film Festival, the Creative Producing Summit at the Sundance Resort and the newly announced Creative Nonfiction Writer Fellowship. The Edit and Story Labs and Fellowship opportunities are open only to DFP grantees. The Documentary Creative Producing Lab & Fellowship as well as the Music and Sound Design Lab are open to U.S.-based filmmakers. Applications for both Labs will open soon.
DFP Lab Alumni include Laura Poitras (The Oath), Dawn Porter (Gideon’s Army), Kirsten Johnson (Cameraperson) and Matt Heineman (Cartel Land).
Late June & Early July
Size of Lab
4 Projects per lab (Director and Editor Teams)
Sundance Resort, Utah
Labs are open to all active grantees in Post-Production who are approaching or at rough cut. Projects are evaluated based on where they are in the creative process, the story/structure issues they face in the edit, and the opportunity for mentorship and collaboration the Lab provides. There is no formal application process for the Edit & Story Labs.
Projects in the later stages of Post-Production share their rough cuts in a collegial but rigorous environment. The structure and focus of the Labs are identical. A second Lab was added for the purpose of deepening support to DFP grantees. Director/Editor teams are paired with Creative Advisors and DFP staff to advance their works in progress by focusing on story editing, character development and dramatic structure.
Past advisors include Editors such as Kate Amend (The Case Against 8, Serena, The Long Way Home), Mary Lampson (Harlan County U.S.A, The Bad Kids, The Islands And The Whales) and Jonathan Oppenheim (The Oath, Paris is Burning, William And The Windmill), and Directors such as Robb Moss (The Same River Twice, Secrecy, Containment), Laura Poitras (Citizenfour, The Oath, My Country My Country) and Robert Greene (Actress, Kate Plays Christine).
Apply Here. Applications are open until February 15, 2018.
Thursday, February 15, 2018, at 6pm PST
Lab: July 30 - August 3, 2018
Summit: August 3 - 6, 2018
Festival: January 24 - February 3, 2019
Size of Fellowship
Sundance Resort and Park City, Utah
Candidates are required to have produced at least one feature documentary film as lead creative producer or co-producer
(executive producer, associate or line producer does not qualify).
Candidates may not be the director of submitted project.
Candidates must be in active production / postproduction on project.
Candidates must live in the United States, though the project maybe filmed internationally.
Candidates must be available for all CPI dates, above
There is a $25 fee to apply.
Sundance Institute will provide round trip economy travel, ground transfer and onsite lodging for the selected fellow for the
specific dates of attendance.
A year-long program designed to nurture emerging producers with project-specific support through the
Creative Producing Lab, Creative Producing Summit, Sundance Film Festival attendance, year-round mentorship from industry mentors,
and ongoing support from Sundance Institute Staff. The program is designed to hone emerging producers' creative instincts and evolve
their communication and problem-solving skills at all stages of their next feature film project.
Fellows are required to acknowledge Sundance Institute and the CPI support partners, to provide
reporting at the close of the Fellowship year, and to participate in possible blogs, interviews, and panels. Fellows should be
willing to give back to the Sundance Institute creative community through willingness to coach, advise, or mentor future Fellows from
Sundance Institute. Accepted fellows also must provide a current producers agreement or memo of understanding for the project they
have applied with.
Labs are open to all active grantees in postproduction. Directors only are invited to the Music and Sound Design Lab. Composers must apply independently to the Film Music Program for consideration. Projects use of music and sound design and creative potential for music to enhance storytelling is factored into selection. If you have a composer or sound designer already attached to your project, this will not impact selection. Composers must apply directly to participate in the Lab.
The 2016 Music and Sound Design Lab pairs four projects (directors only) with four emerging film music composers and Skywalker Sound affiliated sound designers. The Lab is programmed and run jointly by the DFP and Film Music Program, led by Peter Golub. Directors and composers are selected independently and paired in advance. During the Lab teams of filmmakers, composers, and sound designers work together to select and create original cues for 12 scenes from their works in progress. Concurrently, filmmakers receive feedback on story, structure, character development, and music with four Creative Advisors (Two Directors and two Composers) and Sundance Institute staff. The goal of the Lab is experimentation. Participants are not expected or encouraged to work together after the Lab.
The New Frontier Story Lab was launched in October 2011. Inspired by New Frontier at the Sundance Film Festival, the New Frontier Story Lab is the newest program at the Sundance Institute offering interdisciplinary support to artists working at the convergence of film, art, media, live performance, music and technology. With the philosophy that story is at the heart of all narrative endeavors, this Lab supports artists who are innovating the art and form of storytelling. Projects supported by this Lab can take many forms (i.e., film, game, mobile app, animation, comic book, performance, immersive experience), but the common goal is to create rich and resonant experiences for audiences.
Size of Lab
Sundance Resort, Utah
Open. A grant from DFP is NOT required to apply.
The New Frontier Story Lab is cross programmatic initiative. Projects are selected jointly by Feature Film Program (FFP), DFP, and Sundance Film Festival staff. This Lab is by invitation only and has a formal application process. You do NOT have to have a grant from the DFP to apply. Six projects are invited and up to two team members from each project can attend. Three invited projects are feature film oriented and three invited projects are documentary oriented. New Frontier Story Lab project submissions are accepted by invitation or recommendation only. Selection is in process.
During Sundance Film Festival (January)
Size of Lab
Park City, Utah
Open to Documentary Fund grant recipients
Invited projects in different stages of production, and from all around the globe, participate in a curated six-day program during the annual Sundance Film Festival in Park City, Utah. Fellows take part on one-on-one industry meetings, pitch training sessions, case studies, festival screenings, panels, rough-cut screenings and filmmaker conversations.
Applications and nominations are now closed.
December 9, 2016 at 6 p.m. PST
Based on a True Story Conference (BOATS)- March 1-3, 2017
True | False Film Festival- March 2-5, 2017
Sundance Edit and Story Lab – June 23 - July 1, 2017
Size of Fellowship
Columbia, MO and Park City, Utah
Candidates must have published film reviews as well as at least one piece of long form criticism in print publications and online journals.
Candidates may be freelance writers or staff writers.
Candidates must live in the United States.
Candidates must be available for events listed above.
Sundance Institute and the Murray Center will provide round trip economy travel, ground transfer and onsite lodging for the selected fellow for the specific dates of attendance. There is no fee to apply.
Fellowship is designed to increase conversations between writers and critics and filmmakers with works-in-progress through participation in events at the Sundance Film Festival, the Based on a True Story Conference, and the Sundance Edit and Story Lab. In addition, financial and editorial support will be provided to encourage in depth critical writing about nonfiction. Fellow will pursue and deliver a story in 2017.
Fellow retains full editorial control over the piece produced as a result of Fellowship support. Neither Sundance Institute nor the Murray Center will have input on the published piece.
The Creative Distribution Initiative helps alumni answer the question “what happens after I’ve made my movie?” Our programs empower independent filmmakers to maintain creative control of their distribution, amplifying their reach and revenue potential in the process. Through an unprecedented collection of deals, partnerships, strategy, and resources, the Creative Distribution Initiative gives every Institute-supported film robust access to best-in-class digital distribution deals, creative funding tactics, and marketing support/p>
Sundance Institute’s Catalyst Initiative connects forward-thinking investors with the world of independent film, with the intention of envisioning film finance in a new light. Learn More
The Documentary Film Program has established a portfolio of innovative field-building creative partnerships and international collaborations that benefit the global documentary community. These strategic initiatives provide funding and networking opportunities for established filmmakers, and support and mentorship emerging international artists. Activities include, convenings, workshops, solicited requests for proposals and one-on-one meetings. Partnerships include:
Stories of Change is a multi-year initiative of the Sundance Institute Documentary Film Program and the Skoll Foundation that brings together the power of independent storytelling with the impact of social entrepreneurship. Launched in 2007 this year, the initiative is expanding with an additional $2.5 million grant from the Skoll Foundation to include support for narrative filmmakers, new media artists, and continued support for documentary storytelling. In addition to funding the creation of new projects highlighting the work of global change-makers addressing the world's most pressing problems, the initiative brings together leaders in both independent filmmaking and social entrepreneurship at key gatherings globally, including the Skoll World Forum (SWF), the Sundance Film Festival, and intensive workshops at the Sundance Resort.
Led by Sundance Institute's Documentary Film Program, the Science Sandbox Nonfiction Project is a partnership that offers grants, engagement events and other opportunities for independent artists seeking to explore the intrinsic link between science and culture through innovative storytelling. This partnership offers grant resources, engagement events, and other opportunities for independent artists seeking to uncover and explore through innovative storytelling the intrinsic link between science and culture. The partnership identifies and supports nonfiction projects that communicate science to general audiences in meaningful ways. Emphasis is placed on those that incorporate creative narrative techniques and highlight diversity in science, specifically those that feature characters, topics, or disciplines that broaden and redefine what it means to be a scientist or to do science. Learn More
As technology advances, our world grows smaller. Yet, while we are more connected than ever before, we remain separated by the lottery of where we are born. Around the world, people just like you – with the same beliefs, dreams, and aspirations – have drastically fewer opportunities due to extreme poverty and hunger. Through the universal power of storytelling, the Sundance Institute Short Film Challenge will put a spotlight on our similarities—showcasing stories that communicate how we can support one another to end poverty and hunger once and for all. There is a more hopeful future for millions of people around the world, it’s up to us to inspire a positive change together. Learn More
Partners since 2010, the Sundance Institute Documentary Film Program | CNEX Workshop and Documentary Summit in Beijing has taken place in the spring in 2011 and 2012 and is projected for spring 2013. Each year, 10 invited Chinese documentary project teams from mainland China, Hong Kong, and Taiwan participate in the immersive multi-day workshop and summit. Designed by the DFP in collaboration with CNEX, the DFP invites international advisors offers workshops designed to nurture documentary storytelling and encourage the diverse exchange of ideas. Activities include one-on-one creative feedback meetings, pitch sessions, discussions with international advisors, presentations, panels, and productive discussions for larger audiences of artists, film professionals, broadcasters, educators, cultural leaders, and stakeholders. The subsequent Documentary Summit is a one-day, public schedule of panel discussions on topics of direct relevance to Chinese documentary filmmakers, such as crowd funding and international best practices. International advisors have included Robb Moss (Secrecy, Jean Tsien (Music from the HeartHollywood Chinese, Ruby Yang (The Blood of Yingzhou District), and Andrea Meditch (Buck). Each year, $25,000 in granting is available to participating projects. (cnex.org.tw)
Launched at the 2009 Sundance Film Festival as a partnership between the Sundance Institute Documentary Film Program and the UK-based BritDoc Foundation, Good Pitch brings together filmmakers with NGOs, foundations, philanthropists, brands, and media around leading social issues to forge coalitions and campaigns that are good for all these partners, good for the films, and good for society. To date, more than 90 documentary projects have been presented at Good Pitch events in London, Oxford, New York, Washington D.C., Toronto, San Francisco, and Johannesburg. In that time, more than 1,500 organizations have attended and over $3 million dollars raised in additional funding and resources for participating films. For more information on BritDoc and GoodPitch visit their website
Sundance Institute and TED believe in the power of non-fiction storytelling, and are announcing an initiative to create a short film and multi-platform campaign around the annual TED Prize winner with the goal of raising awareness of the work of the TED Prize winner. Click for more information.
The BBC World Service and Sundance Institute are collaborating on a new, nonfiction radio broadcast and podcast series to launch in 2018. The partnership will allow for up to six new projects exploring the theme of ‘Neighbor’, with the resulting radio programs airing on the BBC World Service, also available as podcasts, and accompanied by visual storytelling online.
Sundance Institute’s Art of Nonfiction Initiative provides creative and financial support for nonfiction filmmakers employing inventive artistic practice in story, craft, and form.
With a focus on recognizing nonfiction filmmakers as creative artists, Sundance Institute has developed two unique support opportunities for filmmakers: the Art of Nonfiction Fellowship and Fund.
Recipients of the Art of Nonfiction Fellowship and Fund are selected on a yearly basis through a curated invitation-only application process. Considered artists must be living or working in the United States. Unsolicited applications are not currently being accepted.
Sundance Institute’s Art of Nonfiction Initiative is made possible by founding support from Cinereach. Generous additional support is provided by Genuine Article Pictures, Nion McEvoy & Leslie Berriman.
The Art of Nonfiction Fellowship is designed to encourage and support the creative process of boundary pushing nonfiction filmmakers. Artists with distinct voice and vision are selected yearly to receive an unrestricted direct-to-artist grant and participate in a year-long fellowship track tailored to the Fellow’s creative aspirations and challenges. Previous Fellows include (current and previous work in parenthesis):
Theo Anthony (All Light, Everywhere, RAT FILM)
Garrett Bradley (American Rhapsody, Alone, Below Dreams)
Sierra Pettengill (Riotsville USA, The Reagan Show)
Iva Radivojevic (Aleph, Evaporating Borders)
Khalik Allah (Black Mother, Field Niggas)
Kitty Green (Casting JonBenét,The Face of Ukraine: Casting Oksana Baiul)
Kirsten Johnson (Cameraperson)
RaMell Ross (Hale County This Morning, This Evening)
Brett Story (The Hottest August, The Prison in Twelve Landscapes)
Margaret Brown (The Great Invisible, The Order of Myths)
Robert Greene (Bisbee ‘17, Kate Plays Christine, Actress)
Omar Mullick and Bassam Tariq (These Birds Walk)
The Art of Nonfiction Fund is designed to support artists at the forefront of creative nonfiction filmmaking. Grants are given annually to artists developing a project that takes on an inventive cinematic approach and pushes the boundaries of the form. Previous Grantees include (current and previous work in parenthesis):
Ra’anan Alexandrowicz (Regarding The Pain Of Others, The Law In These Parts)
Yance Ford (Untitled, Strong Island)
Betzabé Garcia (#Mickey, Kings of Nowhere)
Adam and Zack Khalil (Untitled Norval Morrisseau Project, INAATE/SE/ [it shines a certain way. to a certain place/it flies. falls./])
Deborah Stratman (Hello Ladies, The Illinois Parables, O’er The Land)
Lucien Castaing-Taylor and Verena Paravel (Caniba, Leviathan)
Scott Cummings (Realm of Satan, Buffalo Juggalos)
Joshua Oppenheimer (The Look of Silence, The Act of Killing)
Bill and Turner Ross (Bloody Nose, Empty Pockets, Contemporary Color, Western)
Amanda Rose Wilder (Untitled, Approaching The Elephant)
Everything you need to know about how, where and when to apply to take
advantage of the many tax incentives available to Documentary Filmmakers across the United
Many filmmakers believe nonfiction is excluded from Tax Incentive programs, or that
the minimum spends are way out of reach, but 31 states have Tax Incentive programs where nonfiction
projects can qualify. Fill in the form with your email address and
we’ll deliver Sundance Institute’s new state-by-state guide to tax incentives for documentary filmmakers
and directly connect you to the programs that could be a fit for your budget range.
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Advice for Filmmakers
The Sundance Documentary Film program believes that artful storytelling can transform conversations and cultures. Through our non-recoupable grants and artist support opportunities, we seek to engage with fresh voices and veterans in the field who are pursuing financially viable nonfiction projects with clear and forward going storytelling, strong artistic vision and the potential to reach an audience. Our staff can be found attending Forums and Festivals around the globe in the hopes of connecting with filmmakers and artists and we are always available via email at email@example.com
Support for the Documentary Film Program
The Sundance Institute Documentary Film Program is made possible by founding support from Open Society Foundations. Generous additional support is provided by Skoll Foundation; the John D. and Catherine T. MacArthur Foundation; Ford Foundation; The Charles Engelhard Foundation; Robert Rauschenberg Foundation; Arcus Foundation; The Rockefeller Foundation; The Kendeda Fund; Bertha Foundation; CNN Films; Discovery Channel; National Geographic; Genuine Article Pictures; Time Warner Foundation; Cinereach; Anonymous; Compton Foundation; Sundance Now; Joan and Lewis Platt Foundation; the John S. and James L. Knight Foundation; Code Blue Foundation; Joy Family Foundation; PBS; WNET New York Public Media; the J.A. & H.G. Woodruff, Jr. Charitable Trust; Nommontu Foundation; and the S.J. and Jessie E. Quinney Foundation.