top of page
Watsakan_BTS.jpeg

Film Grants

CCCL Film Festival offers film production grants to emerging Thai and Southeast Asian filmmakers. Organized under the auspices of Tonkla Rak Lok Foundation,CCCL Film Grants Program aims to support and empower emerging filmmakers and youth across Southeast Asia to produce short films that reflect the impacts of the climate crisis to foster greater understanding, dialogue, and collective action to meet climate challenges. The program is open to applicants of all ages with skills in video or film production.

This year, CCCL will open a call for climate-related short film project proposals.  At least 10 projects will be selected to participate in a 4-day workshop during CCCL Film Festival 2026, June 12–15, in Bangkok. (Travel and accommodation in Bangkok will be covered by the festival.) The director and producer of each selected project will be invited to participate in a workshop to hone and sharpen their storytelling and pitch their project to a panel of judges, who will select at least 5 projects for film production support  at theup to THB 75,000 (approximately USD 2,400) each.

Fill in the application form

Eligibility Requirements

  1. Applicants must be a resident of a Southeast Asian country (Brunei, Burma (Myanmar), Cambodia, Timor-Leste, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand and Vietnam). 

  2. Applicants who apply to this program must be a director and/or a producer of the film.

  3. There is no age limit for applicants.

  4. Applicants should have experience producing at least one short film or video that has been publicly distributed.

  5. If selected, participants must be able to travel to Bangkok on June 11, 2026 (the program will commence on June 12.) All participants are required to attend every session until the program officially concludes on June 15, 2026.

  6. The producer or director in the film project must be able to communicate in English. (English is the main language of instruction throughout the workshop.)

 

Note: Filmmakers who are youth, women or gender minorities in climate change-affected, underrepresented, indigenous, rural/urban poor communities are encouraged to apply.

Project requirements

  1. The proposal must be written for a short film production. The project can be in any genre, such as fiction, documentary, experimental, or animation.

  2. The finished film must be at least 5 minutes in length and not exceed 15 minutes.

Application fee

None

BTS-06.jpeg
Grants2025_BTS.png

Suggested focus areas

CCCL accepts film proposals that explore the theme of climate change and its intersection with social, cultural, and political realities. Each year, we aim to cover diverse themes and issues. In the past the films and film projects we have selected, cover a wide range of topics from various perspectives, from impacts of floods and droughts, coastal erosions, agriculture, biodiversity, forest and wildlife conservation, to stories about climate awareness, coming of age self-exploration about climate anxiety and mental health, and inspiring stories of individual and community resilience, courage and innovation. In other words, how climate change affects our lives and what we are doing about it. We seek original stories that can move hearts, stimulate conversations, and inspire action. Better, if all three. These are areas where we think we need more stories of:

  • Gender and climate justice, such as disproportionate impacts on women and marginalized gender minorities, especially in rural and indigenous communities, where their status is low and their voice is muted. Issues to consider: food security, economic security, gender-based violence, human trafficking, exclusion (especially for poor/indigenous women and gender minorities), access to resources and decision-making, women empowerment and leadership. 

  • Climate-induced migration and displacement in urban vs. rural contexts. 

  • Urban poor and climate adaptation, where rural and foreign migrants often find themselves lacking resources to adapt and the inequality gap in the city is wide.

  • Intersections of climate with mental health or economic inequality for low-income and vulnerable groups in various contexts. Consider also urban/rural social transformation in the climate crisis amidst digital disruption and geopolitical instability.

  • Food and water security in the climate crisis. Impacts of animal farming.

  • Impacts of climate change on wildlife. How humans and animals can co-exist and share the planet.

  • Energy and climate justice. How the haves adapt more easily, while the have-nots with the least carbon footprints suffer.

  • Indigenous knowledge and women’s role in nature-based solutions.

  • Role of technology and innovation in climate solutions.

āļ āļēāļžāđ€āļšāļ·āđ‰āļ­āļ‡āļŦāļĨāļąāļ‡āļŦāļ™āļąāļ‡āļŠāļąāđ‰āļ™āđ€āļĢāļ·āđˆāļ­āļ‡ First Draft_01.jpeg

application materials

  1. Logline (not exceeding 150 words)

  2. Synopsis (not exceeding 500 words)

  3. Treatment

  4. Key Visual ( images that illustrate the mood and tone of your film.)

  5. Director’s statement: what do you want your audience to take away from watching the film (explain your vision and idea of your story)

  6. Director and producer bio(s)

  7. A sample of previous work. It can either be a short film under 15 minutes or an excerpt from your films. If you haven't produced a short film, please send us a video clip or related work that shows your experience and your vision as a storyteller.

Key dates

Application period

March 9 - April 6, 2026, at 11.59 PM (GMT+7)

Shortlists announcement

April 30, 2026

Workshop & Pitching in Bangkok, Thailand

June 12-15, 2026

Production period

July 1, 2026 - October 15, 2026

Entry Conditions

  1. Applicants have ownership of the copyright of the sample of work submitted.

  2. Applicants may submit more than one project proposal, but only one project proposed by the same applicant will be chosen.

  3. Grants will be disbursed in 2 installments; 70% of the grant amount will be paid upon submission of a screenplay or updated treatment (for non-fiction) and 30% upon submission of a first-draft film.

  4. Applicants must deliver a finished film to CCCL Film Festival no later than October 15, 2026. 

  5. Applications must guarantee that no rights of third parties are violated by the material used in the complete film submitted to the festival. Applicants have sole responsibility towards third parties in case of disputes over copyright violations.

  6. Each film project produced in the CCCL Film Grants program will be owned by the grantee. However, the grantee will agree to grant CCCL Film Festival 2-year educational distribution rights, including showing at CCCL events and third-party events, using the films for promotion, and marketing for CCCL Film Festival.

  7. The grantee must indicate CCCL support by displaying the CCCL logo in the end credit of the film and any promotional materials.

  8. CCCL may give advice for grantees who want to submit their films to festivals and screening events. A submission fee may be covered by CCCL on a case-by-case basis.

  9. CCCL reserves the right to revise, alter or otherwise change any information or rules announced here or elsewhere without prior notice.

Selected projects

  • āļ›āļāļīāļ āļēāļ“ āļ”āļģāļĢāļ‡āļ„āđŒāļāļīāļˆāļĄāļąāđˆāļ™ Patiparn Damrongkitman

    Alyssa Ashley Manugas

    āļāļ§āļīāļ™ āļŠāļīāļĢāļīāļˆāļąāļ™āļ—āļāļļāļĨ Kawin Sirichantakul

    āļ˜āļ™āļ āļąāļ—āļĢ āļžāđˆāļ§āļ‡āļŠāļļāļ§āļĢāļĢāļ“ Thanaphat Puangsuwan

    āđ€āļŦāļĄāļ·āļ­āļ™āļ”āļēāļ§ āļāļĄāļĨāļ˜āļĢāļĢāļĄ Muendaw Kamontum

    Mio Dagsaan

    āļ āļ„āļ§āļĢāļĢāļĐ āļŠāļļāļ‚āļĄāļēāļ•āļĒāđŒ Pakawat Sukmart

  • Theingi Win Tin

    āļ­āļīāļŠāļĢāļĩāļĒāđŒ āļ­āļĢāļļāļ“āļ›āļĢāļ°āđ€āļŠāļĢāļīāļ Issaree Arunprasert

    āļ­āļąāļ›āļŠāļĢ āđ‚āļ­āļĢāļīāļāļēāđ€āļšāļĨāļĨāđŒ āđ€āļĄāļ™āļīāļĨ Absone Oriabel Mesnil

    āļ āļžāļ§āļĢāļąāļ— āļĄāļēāļ›āļĢāļ°āļŠāļž Pobwarat Maprasob, āļŠāļ™āļĄāđŒāļŠāļ™āļ āļ˜āļ™āļąāļŠāļ—āļĩāļ›āļ•āđŒāļ§āļ‡āļĐāđŒ Chonchanok Thanatteepwong

    āļ˜āļ™āļēāļ˜āļĢāļ“āđŒ āļ˜āļ™āļēāđ€āļĨāļ‚āļ°āļžāļąāļ’āļ™āđŒ, āļāļąāļ™āļ•āļžāļĨ āļ”āļ§āļ‡āļ”āļĩ Tanathorn Tanalekhaphat, Kantapon Duangdee

    Bradley Jason Pantajo

    āđ€āļˆāļĐāļŽāļē āļ‚āļīāļĄāļŠāļļāļ‚ Jessada Khimsook

    Maki Makilan

    āļ˜āļ™āļ āļąāļ—āļĢ āļžāđˆāļ§āļ‡āļŠāļļāļ§āļĢāļĢāļ“ Thanaphat Puangsuwan

  • āļŠāļīāļ™āļēāļ™āļēāļ‡ āļ˜āļģāļĢāļ‡āļ˜āļ™āļāļīāļˆāļāļēāļĢ Chinanang Tamrongtanakijakarn

    āļ™āļąāļ™āļ—āļŠāļąāļĒ āļ āļđāđˆāđ‚āļžāļ˜āļīāđŒāđ€āļāļ• Nunthachai Phupoget

    Panha Theng

    āļ­āļ˜āļīāļžāļąāļ’āļ™āđŒ āđ€āļĨāļīāļĻāļāļĢāļāļīāļˆāļˆāļē Atipat Lertkornkitja

    Purple Romero

    āļ›āļ“āļīāļ˜āļēāļ™ āļšāļļāļ“āļ‘āļĢāļīāļ Panitarn Boontarig

    āļ›āļĢāļ°āļāļēāļĻāļīāļ• āļŠāļ­āļ”āļĻāļĢāļĩ Pakasit Sordsri

  • āļāļīāļ•āļ•āļīāļ„āļļāļ“ āđ€āļŠāļ™āļĩāļ§āļ‡āļĻāđŒ āļ“ āļ­āļĒāļļāļ˜āļĒāļē Kittikhun Seniwong Na Ayutthaya

    āļ“āļžāļ§āļąāļ’āļ™āđŒ āļĨāļīāļ‚āļīāļ•āļ§āļ‡āļĻāđŒ Nopawat Likitwong

    āļ˜āļ™āļāļĪāļ• āļāļĪāļĐāļ“āļĒāļĢāļĢāļĒāļ‡ Tanakit Kitsanayunyong

    āļˆāļąāļāļĢāļžāļąāļ™āļ˜āđŒ āļĻāļĢāļĩāļ§āļīāļŠāļąāļĒ Jakkrapan Sriwichai

    āļ›āļāļīāļ āļēāļ“ āļšāļļāļ“āļ‘āļĢāļīāļ Patiparn Boontarig

    āļ§āļĩāļĢāļĒāļē āļ§āļīāļŠāļĒāļ›āļĢāļ°āđ€āļŠāļĢāļīāļāļāļļāļĨ Weeraya Vichayaprasertkul

    āđ€āļŠāļŽāļāļ§āļļāļ’āļī āļ­āļīāļ™āļšāļļāļ Sedthawut Inboon

    āļŠāļīāļĢāļīāļ˜āļēāļĢāļ“āđŒ āđ€āļĨāļēāļ§āļāļļāļĨ Sirithan Laowakul

    āļ™āļīāļŠāļēāļ āļē āļ™āļīāļĻāļēāļšāļ”āļĩ Nichapa Nisabdi

  • āļŠāļ™āļĄāđŒāļŠāļ™āļ āļ˜āļ™āļąāļŠāļ—āļĩāļ›āļ•āđŒāļ§āļ‡āļĐāđŒ Chonchanok Thanatteepwong, āļ›āļāļīāļ āļēāļ“ āļšāļļāļ“āļ‘āļĢāļīāļ Patiparn Boontarig

    āļ“āļąāļāļ˜āļąāļ āļāļĢāļļāļ‡āļĻāļĢāļĩ Natthan Krungsri

    āļŠāļ™āļīāļ™āļ—āļĢ āđ€āļžāđ‡āļāļŠāļđāļ•āļĢ Chanintorn Pensute

    āļˆāļīāļĢāļ˜āļ“ āļˆāļīāļĢāļ­āļļāļ”āļĄāļžāļĨ Jiratana Jiraudompon

    āļ˜āļ™āļ§āļąāļ’āļ™āđŒ āļ•āļēāļĨāļŠāļļāļ‚ Thanawat Talsuk

    āļ˜āļīāļ”āļēāļĢāļąāļ•āļ™āđŒ āļ§āļĩāļĢāļ°āļ™āļ° Thidarat Weerana, āļ­āļīāļ—āļ˜āļīāļāļĢ āļ™āļļāļ•āļīāđāļāđ‰āļ§āļĄāļ‡āļ„āļĨ Ittikorn Nutikaewmongkol, āļ›āļđāļ™ āļŠāļīāļĢāļ āļž Poon Sirapob

    āļŠāļēāļ„āļĢāļīāļ• āļ­āļīāļ™āļ—āļĢāđŒāļˆāļąāļāļĢāđŒ Chakrit Injak, āļ§āļīāļ™ āļĄāļ‡āļ„āļĨāđ€āļžāđ‡āļŠāļĢ Win Mongkolpetch

    āđ€āļĄāļ˜āļąāļŠ āļˆāļąāļ™āļ—āļ§āļ‡āļĻāđŒ Methas Chantawongs

    āļˆāļīāļ•āļ•āļīāļ™āļ™āļ—āđŒ āļŠāļąāļˆāļˆāļāļļāļĨāļ§āļ™āļīāļŠāļĒāđŒ Jittinont Sujjakulvanich

  • āļ§āļĩāļĢāļĒāļē āļ§āļīāļŠāļĒāļ›āļĢāļ°āđ€āļŠāļĢāļīāļāļāļļāļĨ Weeraya Vichayaprasertkul, āļ™āļĪāļ”āļĨ āļŠāļīāļ—āļ˜āļīāļĢāļąāļ•āļ™āđŒ Naruedon Sittirat

Supporters & Sponsors

logo-moc-L.png
logoDCP.png
THACCA_Logo.png

Supporters & Sponsors

Jim Gulkin

Michael Herrin

Chris Lowenstein (Living Films)

Christopher G. Moore

bottom of page