Displacement Film Fund by UNHCR & Rotterdam Film Festival: €100,000 Grants for Refugee Short Film Creators

Introduction

Film moves people because it gives life to texture: gestures, pauses, little details that let a viewer feel another person’s reality. For people forced from home by war, persecution or climate shocks, those textures are also political — they can cut through headlines and humanize what otherwise becomes a number. The Displacement Film Fund — a new pilot short-film funding scheme launched in 2025 and managed by the International Film Festival Rotterdam’s Hubert Bals Fund — is one of the most significant recent moves to intentionally back creators with lived experience of displacement (or those who have a demonstrable track record telling displaced stories). Each pilot grant is worth €100,000 and the first round funded five short films, selected from an international longlist. Learn who set it up, why it exists, who the recipients are, and — most important — how you or your institution can prepare for future opportunities. (Official fund details and the pilot recipients are explained on IFFR’s press page.)

Overview of the topic

The Displacement Film Fund launched at the International Film Festival Rotterdam (IFFR) in early 2025. It was spearheaded publicly by Cate Blanchett in her role as a UNHCR Goodwill Ambassador and established with management support from the Hubert Bals Fund. The pilot was created in conversation with UNHCR and an international coalition of founding partners (including several philanthropic and corporate backers) to help correct two persistent problems:

Filmmakers who are displaced — or who work primarily on refugee and displacement narratives — often lack access to stable production financing and festival circuits.
Storytellers operating in restrictive or resource-poor environments have difficulty getting their work to global audiences, even when the work is urgent and excellent.

The pilot awarded up to five €100,000 production grants for short films, with an explicit emphasis on supporting filmmakers from contexts where local filming infrastructure is limited or where filmmakers have experienced direct threats to their creative freedom. In the pilot round the fund named five recipients whose short films are slated to premiere publicly in 2026. IFFR’s official announcement gives the fund’s purpose, founding partners and the list of initial grantees.

“Displacement Film Fund … €100,000 Grants for Refugee Short Film Creators” matter

Why should a fund for short films matter in a world of streaming giants, attention algorithms and endless content? Three reasons, short and practical:

Scale through focus. A €100,000 production grant for a short film is life-changing for an independent filmmaker working in difficult conditions. It covers production, postproduction, and festival strategy — not just a line item, but a whole creative cycle that allows the filmmaker to finish a polished film that can travel, be subtitled, and reach decision-makers and publics.
Art + advocacy = policy attention. Carefully made short films are powerful tools for reframing public debate. They’re compact, sharable, and often easier for broadcasters and festivals to program than a multi-year feature. When the films come from creators with lived experience, they bring authenticity — and policymakers and donors pay attention to authenticity.
Protection of artistic freedom. This fund explicitly recognizes that artists are at risk in many parts of the world, and that culture is often the first casualty of authoritarian repression. Backing filmmakers — including those in exile — is a protective action as much as an artistic investment. The fund’s launch and selection process were framed with this context in mind. (The Guardian covered Cate Blanchett’s comments at the launch and the fund’s broader aims.)

Key Importance — who benefits and why the timing is urgent

Who benefits

Displaced filmmakers who need production budgets and festival pathways.
Communities and countries of origin, when films surface stories that international audiences rarely see.
Film labs, film schools and local industry — because funded projects create training opportunities and pipelines for crews.
NGOs and advocacy networks — who get high-quality cultural assets to counter dehumanizing narratives in public debate.
Audiences worldwide — who gain new perspectives on forced displacement.

Why now?

Global forced displacement is at record levels, and humanitarian narratives are often simplified. Targeted cultural funding helps rebalance the conversation by centring voices who have direct experience. The fund also responds to a cultural reality: film festivals and commissioning bodies increasingly look for authentic, original short work to premiere and program. A reliable production fund that deliberately targets displaced storytellers improves the chance that those voices enter the cultural mainstream, not only the humanitarian niche. IFFR opened the fund with a constellation of industry names and philanthropic backers to give it reach and credibility.

Key Insights — how the fund works and what reviewers valued in the pilot

From public material on the fund and the conversations at IFFR, a handful of practical insights emerge for applicants and partners:

Authenticity plus craft matters. The fund was created for filmmakers with lived experience of displacement, or those with a demonstrable record of authentic, respectful refugee storytelling. That means both voice and craft are evaluated. A raw diary can be powerful, but the fund prizes clear cinematic approach, production readiness and a thought-through distribution plan.
Festival strategy was built into selection. One reason the Hubert Bals Fund (HBF) manages the Displacement Film Fund is their expertise connecting films to festivals and international sales channels. Recipients are expected to aim for festival premieres and curated showcases — a key way to extend reach and influence.
Safety & legal planning matter. Working on displacement narratives often involves interviewing vulnerable people or filming in sensitive locations. The pilot winners demonstrated safeguarding protocols and a plan to protect contributors and crew.
Co-production and local crew investment are valued. Projects that build local capacity and hire local crews scored well. Funders prioritized proposals that didn’t extract stories without giving back to local film communities.
Clarity on rights and follow-up. Selection panels asked about rights ownership, translation/subtitle plans, and whether grantees had partners to help with distribution and outreach.

The HBF’s press page explains the fund’s intent, partners and the pilot recipients; the fund also published an FAQ to help potential future applicants. These practical expectations are useful when you start drafting.

Benefits — what a €100,000 short-film grant can practically deliver

A grant of €100,000 for a short film is substantial in this sector. Typical benefits include:

Complete production cycle funding. From preproduction (research, location scouts, permits) to principal photography, postproduction (editing, color, sound mix), festival submission and publicity assets (DCP, press kits, subtitling).
Professional crews & local employment. Funding can hire local DOPs, sound recordists, grips, editors and translators — building skills and income in regions where film work is scarce.
Safety & legal safeguards. Budget lines can be dedicated to legal counsel, ethical oversight and compensation for vulnerable participants.
Distribution & festival readiness. Funds purchase festival submissions, subtitling and festival travel, increasing chances of premieres and sales.
Visibility for complex narratives. Short films supported by a high-profile fund are more readily picked up by festivals, broadcasters and NGO networks — amplifying impact.

The pilot recipients’ films are slated to premiere at IFFR 2026, giving them built-in festival pathways and immediate visibility. That kind of pipeline turns a short film into a public event that can shift discourse.

Table — Quick comparison: Displacement Film Fund (Pilot) vs. typical short-film funding routes

Feature	Displacement Film Fund (Pilot)	Typical Short-Film Grants / Crowdfunding
Grant size	€100,000 per recipient (pilot).	Usually €5k–€40k; crowdfunding yields vary widely.
Target applicants	Displaced filmmakers or those with refugee/forced-displacement storytelling experience.	Open calls, open to many filmmakers (no displacement focus).
Management & festival linkage	Managed by Hubert Bals Fund with direct pathways to IFFR programming.	Varies; some funders lack direct festival partnerships.
Safeguarding expectation	High — must address participant protection and rights.	Varies by funder; smaller grants may not require comprehensive safeguarding.
Visibility & advocacy	High — public launch, media coverage, advocacy partners (UNHCR).	Depends on the funder and filmmaker’s promotion.

This table helps you understand why the Displacement Film Fund is unusual: it’s large for shorts, targeted, and plugged into a festival ecology that amplifies reach.

Real-world examples — how different people can engage and benefit

Below are three short vignettes showing how a student, an educator and a parent/community leader in regions like Africa, the Middle East and Asia can connect with or benefit from the fund’s work.

1) International student — film practice + festival pathways (Nigeria → Netherlands)

Who: A final-year film student in Lagos researching documentary storytelling about internal displacement.
How they connect: Partner with a displaced director or a local NGO to become an assistant director or research lead on their Displacement Film Fund project; propose a student internship arrangement for archival work or local crew training.
Benefits: Hands-on production experience, a festival credit on a film that will premiere at Rotterdam, and network access to producers and funders — an early career accelerator.

2) Educator — curriculum & local industry development (Kenya technical college)

Who: A film lecturer at a Nairobi polytechnic.
How they connect: Offer the school’s lab and students as a local postproduction hub for a funded short film; negotiate student assistant roles and workshops led by the film’s creative team.
Benefits: Curriculum enrichment, practical training for students, potential to spin up a local postproduction collective that monetizes future projects.

3) Parent & community leader — cultural preservation & local storytellers (Syria-hosting community)

Who: A parent who runs a community centre that gathers stories and artefacts from displaced neighbours.
How they connect: Offer the centre as a safe space for research interviews and as an ethical co-producer — the centre can help identify storytellers and ensure their consent and welfare.
Benefits: Community involvement in storytelling decisions, revenue opportunities if the film invests in local services, and increased visibility for local issues in international circuits.

These small, concrete pathways show how a single funded short can ripple into education, local economies and community agency.

Step-by-step: How to prepare for a Displacement Film Fund application (or similar grants)

Although the pilot round has concluded, the fund is designed to be evolving. If you plan to apply in future rounds or want to be part of a production team, here’s a practical, step-by-step checklist.

Step 1 — Clarify eligibility and the fund’s focus

Confirm that your project or director meets the displacement focus (lived experience or demonstrable storytelling track record). Read the fund FAQ and the Hubert Bals Fund guidelines.

Step 2 — Build a compact, compelling treatment

Write a 1-page treatment that states the story, the urgency, and why you (or your director) are the right person to tell it. Focus on emotional specificity: one scene that proves the film’s tone.

Step 3 — Prepare a realistic production budget and schedule

Short films usually need a tight schedule and clear budget lines (preprod, 10–15 days shoot, postproduction, festival & outreach). Include safeguarding costs, participant compensation, insurance and contingency.

Step 4 — Assemble a core team and letters of support

Attach CVs for director, producer, DOP and a letter from at least one local partner (NGO, film lab, or community group) confirming access and support. If the director is in exile, include a logistics note about filming permissions and safety.

Step 5 — Safeguarding & ethical plan

Prepare a short safeguarding plan: informed consent procedures, anonymity options, data security, and mental health support for participants and crew.

Step 6 — Festival & outreach plan

Outline the desired festival pathway (a Rotterdam premiere? Cannes short film corner? regional festivals) and how you’ll use the film for advocacy or community screenings.

Step 7 — Legal & rights plan

Clarify ownership of finished film, distribution rights, and any agreements for archival or NGO use.

Step 8 — Pitch and refine

Create a 5-minute pitch video (director on camera, short clips or moodboard), and practice the pitch with peers for feedback.

Step 9 — Submit early and plan a follow-up

Fund rounds often include interviews or follow-up questions. Be responsive, and prepare additional materials if requested.

This process converts a good idea into an application that looks professional and ethically prepared.

Your Statement of Purpose — A Simple, Strong Structure

Below is a one-page Statement of Purpose (SOP) you can adapt and paste into an application or email.

[Project title — one line]

Who we are (1 sentence): “We are [production company or collective name], a team led by [director’s name], a filmmaker with lived experience of forced displacement from [country].”
What we will make (2–3 sentences): Brief treatment — main character, setting, conflict and the short film’s arc.
Why this story (2 sentences): Relevance and urgency — why this film needs to be made now and how it provides a fresh perspective on displacement.
How we will protect participants (1–2 sentences): Safeguarding measures and consent protocols.
Outcomes (bullet points): Festival premiere target; 10 public screenings in partner communities; a 6-page educational dossier for schools.
Funding ask & use (1 sentence): “We request €100,000 to cover production, postproduction, festival entry and outreach; a detailed budget is attached.”
Closing (1 line): “We commit to transparent reporting, co-producing with local partners and sharing lessons widely.”

This structure keeps the review panel focused on essentials: story, capacity, protection, impact.

Common Mistakes — and how to avoid them

From grant rounds and festival practices, here are mistakes that trip up good projects — and how to fix them.

Mistake: Thin budgets with no safeguarding or contingency.
Fix: Include explicit lines for safeguarding, legal counsel and at least a 10% contingency. Funders want to see you’ve thought about real risks.
Mistake: No festival or outreach plan.
Fix: Funders prefer projects with an intentional audience strategy — show where the film will go and who it will reach.
Mistake: Weak local partnerships.
Fix: Secure letters of support from community organisations, local production companies or universities. Local buy-in signals ethical access and production readiness.
Mistake: Overly ambitious scope for a short film.
Fix: Keep stories intimate and doable — one or two locations, limited cast. Quality outperforms scope.
Mistake: Neglecting participant wellbeing.
Fix: Budget for psychosocial support or referral services for participants and include an ethical protocol.

Avoiding these mistakes saves time and increases likelihood of selection.

FAQs (Concise but useful)

Q: Who runs the Displacement Film Fund?
A: The pilot is managed by the Hubert Bals Fund at the International Film Festival Rotterdam, launched publicly with involvement from UNHCR’s Goodwill Ambassador Cate Blanchett and several founding partners.

Q: How much is each grant?
A: In the pilot round each selected short-film project receives €100,000 in production support.

Q: Who were the pilot recipients?
A: The first five recipients announced in 2025 include filmmakers from Ukraine, Somalia, Syria, Iran and Afghanistan — a mix of established and exiled directors selected for the pilot. (IFFR’s announcement lists the recipients and projects.)

Q: Is the fund open only to refugees?
A: The focus is on displaced filmmakers or filmmakers with a proven record in displacement storytelling; eligibility criteria are defined by the fund and are intended to amplify underrepresented voices. Check the fund’s FAQs for future application rounds.

Q: Will the films be used by UNHCR for campaigns?
A: Partnership with UNHCR as a strategic partner suggests the agency may support outreach or educational use, subject to rights agreements; applicants should specify usage terms during application. (Ask about this in the funding terms.)

How to measure success — indicators that matter to funders and communities

If you’re planning outreach or community screenings alongside the film, funders often look for measurable impact. Useful indicators include:

Festival impact: Number and tier of festival premieres and screenings.
Audience reach: Number of public screenings, viewers reached, TV/broadcast pickups.
Community engagement: Number of community screenings, workshops held, participant feedback scores.
Policy & advocacy outcomes: Instances where the film was used in advocacy briefings, parliamentary screenings or donor roundtables.
Capacity building: Number of local crew trained and percentage of budget spent locally.

Collect simple baseline and endline data (attendance lists, short surveys, video testimonials) to show impact.

Conclusion — recap, clear call to action and an engaging quote

Recap: The Displacement Film Fund is an intentionally targeted, high-impact pilot that provides €100,000 production grants to short-film creators who are displaced or who have deep experience telling stories about forced displacement. It’s managed by the Hubert Bals Fund and launched with public support from Cate Blanchett and UNHCR. The fund’s design — substantial per-film grants, festival pathways and emphasis on safeguarding and local partnerships — makes it an unusually powerful lever to elevate authentic voices from contexts where cultural production is threatened or underresourced.

Call to action — three practical next steps:

Filmmakers: Draft a concise 1-page treatment and budget, and start building local letters of support and safeguarding plans. Keep plans short, concrete and ethically framed.
Educators & students: Reach out to local production teams as potential research or production partners; turn student labs into postproduction hubs or archival partners.
Community leaders & parents: Build a shortlist of local storytellers and community spaces that could host research interviews and screenings; ensure community consent protocols are in place.

“Film doesn’t just record reality — it invites people to live for a moment in another life. Funding that protects and amplifies displaced voices helps the world feel less foreign and, ultimately, a bit more human.”