About WeirAnderson Films
WeirAnderson Films believes in the power of screen stories. To ensure women’s perspectives are well-represented, we predominantly support female storytellers.
We work with filmmakers in a variety of ways:
development or production investment
co-producing
providing philanthropic funding through the WeirAnderson Foundation.
Previous feature film investments include I Used to Be Normal, Babyteeth, Miss Fisher & The Crypt of Tears, I Am Woman,How To Please A Woman,Blaze,Seriously Red and The Wolves Always Come at Night (Australia’s submission for Best International Feature to the 2026 Academy Awards).
Through the WeirAnderson Foundation, WeirAnderson Films supports documentaries highlighting global issues facing women and girls.
Projects coming to market in 2026:
Boss Cat, the debut feature of writer/director Genevieve Clay-Smith with Deanne Weir as lead producer, with Bus Stop Films
Aftermath, a documentary from Media Stockade and directors Jared Nicholson and Ben Lawrence
Life Could be a Dream, the debut feature of director/producer Jasmin Tarasin and writer Courtney Collins
Homebodies, an SBS Digital Original, from creator AP Pobjoy, premiering at Series Mania in France
Addition, the debut feature of director Marcelle Lunam, from producers Bruna Papandrea and Cristina Pozzan (a Storyd Group investment)
Sweet Milk Lake, the debut feature of writer/director Harvey Zielinski, with Film Camp
Whale Shark Jack, directed by Khrob Edmonds and Miranda Edmonds, written by Kathryn Lefroy, from Cottesloe Films
Projects in development or production include:
Crashout, the debut feature of writer/director Nick Annas, with Deadhouse Films
Devotion, the adaptation of Hannah Kent’s novel with producer Jess Carrera and Dollhouse Pictures
Rocki, from writer Libbi Gorr
The First Dress, the debut feature of writer/director Melissa Anastasi, with Media Stockade
The Silent Listener, the adaptation of Lyn Yeowart’s novel
Testimony, a documentary from director Maya Newell, Closer Productions and The Unquiet Collective
The Black Talons, from writer Maria Lewis, director Shari Sebbens, and producers Hunter Page-Lochard and Huna Amweero of Djali House
Offset, from writer Alana Valentine and producers Jungle Entertainment
Primary School, a documentary from director Sue Thomson
Supported films:
Top banner photo, from left: Hayley McElhinney, Tasma Walton, Sally Phillips and Caroline Brazier in How to Please a Woman (photo David Dare Parker).