The disqualifying questions first, so that nobody spends a month on an application they were never eligible for. First the calendar: without a prior consultation nothing happens at all. The Richtlinien require that an application be preceded by a Beratungsgespräch (a consultation with the funding officer) under Ziffer C, the Merkblatt calls it an absolute precondition and requires that it should as a rule have taken place at least 14 days before the submission date — and it is only in that conversation that you are given log-in details for the application database. A submission deadline discovered the day before is therefore not a deadline you can reach. Second, who applies: producers are eligible, not directors; in documentary this expressly includes producers making their own film. Under MOIN's FAQ, students on film degree courses are as a rule excluded from applying. Third, the state of the project: work on it must not have started at the time of application, and in particular shooting must not have begun. Fourth, the money: an Eigenanteil (own contribution to the financing) of normally at least 5% of the production costs is required, and the award is a conditionally repayable loan, not a grant. Fifth, your history: before a new application, revenues from earlier MOIN awards must have been reported. Sixth, the other half of the money: the award covers at most 50% of the production costs, the financing plan must already cover the total costs in full at the application stage, and nothing is paid out until the total financing is evidenced (Ziffer B|2.2). MOIN cannot be the first money in your project, and it cannot be the only money either.
Production funding for feature films and theatrical documentaries is the production strand of MOIN Filmförderung Hamburg Schleswig-Holstein, the joint fund of the Free and Hanseatic City of Hamburg and the Land of Schleswig-Holstein. Its legal basis is the Richtlinien für Film- und Medienförderung (version of January 2025), specifically Ziffer B|2.1 I and B|2.1 II; the Merkblatt Produktion Spielfilm und Kinodokumentarfilm (version of July 2024) applies in addition (a Ziffer is a numbered section of the Richtlinien; a Merkblatt is the funder's guidance sheet for a funding area). What is supported is the making of feature-length films where the film promises mainly commercial success in cinemas or particular regional economic significance for the funding region. Fiction feature, theatrical documentary, animation and children's film all run through this same funding area and the same Merkblatt; series have their own Merkblatt, and short films and innovative formats have their own committees.
One peculiarity has to be understood before you submit: there are two committees with two separate submission deadlines, and which one is responsible depends on your budget. “High End” decides on films and series with production costs above €2.5m and theatrical documentaries above €1.5m, “Director's Cut” on everything below. The Richtlinien, however, do not draw the line on budget alone: under Ziffer B|2.1 I, projects below those thresholds also belong to the first group where the share of Drittmittel — licences, minimum guarantees, broadcaster money and private equity — exceeds 35%. MOIN's FAQ instead speak of “a market share in the financing of more than 30%”, and the programme pages give the budget thresholds only. If you are budgeting close to a threshold, settle the allocation in the consultation — an application to the wrong committee costs a whole round. It also matters what the published dates are and are not: 15 September 2026 and 27 October 2026 are submission deadlines, even though the calendar files them under the name of the committee. When the committee meets and decides is not published in advance.
Access is more regionally open than the fund's name suggests. Producers may apply; neither the Richtlinien nor the Merkblatt require a seat in Hamburg or Schleswig-Holstein, and the published funding decisions show companies from Berlin, Munich, Hanover and Bremen. What is tied to the region instead is the money — but more loosely than in most Länder: the Merkblatt says that at least 150% of the award should be spent in Hamburg and/or Schleswig-Holstein, while MOIN's own Regionaleffekt guidance expressly states that, “unlike in other federal states”, a regional effect is not mandatory for each individual project; the 150% is an annual average across all funded measures, while the concrete effect is fixed project by project and bindingly in the funding letter. What counts towards the Regionaleffekt (the obligation to spend a multiple of the award in the funding region) follows the Steuerprinzip — the place where the service is invoiced and taxed — and for staff costs and fees the person's registered residence in the funding region, not the shooting location. Effects for Hamburg and for Schleswig-Holstein must be shown separately.
On the size of the award: for production MOIN publishes no maximum — unlike for development, project development and distribution, where the Richtlinien do state express ceilings. The limit is a share instead: at most 50% of the calculated total production costs, or up to 80% for difficult audiovisual works and DAC co-productions with the committee's consent (Ziffer B|2.3). If this is your first or second theatrical film, read that again: footnote 3 of the Richtlinien expressly counts first and second theatrical films by a director, producer or writer as difficult audiovisual works, along with documentaries, low-budget productions, experimental works and children's and youth films. What that means in practice is visible in MOIN's own funding decisions: between 15 March 2024 and 6 July 2026 the High End and Director's Cut committees made 91 production awards, ranging from €15,000 to €1.3m, with a median of €150,000. Director's Cut awards ran from €15,000 to €500,000, High End awards from €70,000 to €1.3m. Payment is normally made in five instalments — 25% on signature of the contract and proof that the financing is closed, and a final instalment of 10% after completion and final accounting — and the auditor's fees are withheld from the award: above €51,100 that is 3%, so on a €300,000 award, €9,000 plus VAT.
For placing this alongside other funding: MOIN funding may be cumulated with funding from other bodies; what limits the total is the state aid ceiling under Art. 8 AGVO and the 50% limit in Ziffer B|2.3 (Ziffer C). One rule has real consequences: where a project is funded by MOIN at the development stage under Ziffer B|1, an application for production funding must also be filed with MOIN for that same project — so accepting NEST or project development ties you in for the production stage. A development loan already paid out is withheld from the production award, and the development costs count towards the total budget and towards the calculation of the maximum funding rate.
The framework is stable and currently growing rather than shrinking. Hamburg raised MOIN's budget by €5m in each of 2025 and 2026 — to a total of around €20m a year — and the Senate's draft double budget for 2027/28 proposes to make that increase permanent, subject to approval by the Bürgerschaft (MOIN Filmförderung, 7 July 2026). The Richtlinien in force came into effect on 3 July 2024 and are limited to 30 June 2029 (Ziffer F). Watch the version dates of the documents: the Merkblatt Produktion is the July 2024 version, the Richtlinien the January 2025 version, the Gebührentabelle Prüfungskosten (audit-fee table) the January 2025 version, and the Regionaleffekt guidance the July 2022 version. Only the Richtlinien für Film- und Medienförderung in their currently valid version, MOIN's Merkblätter and the answer of the responsible funding officer are binding. This summary replaces neither the Richtlinien nor the compulsory consultation.
Submission deadline 15 September 2026, 23:59, for the Director's Cut committee — responsible for films with production costs below €2.5m and theatrical documentaries below €1.5m. MOIN publishes the date and its calendar entry labels it expressly as an Einreichtermin (submission deadline), not as the date the committee meets. Note: a consultation with the responsible Förderreferent*in (funding officer) is an absolute precondition of applying, and it should, as a rule, have taken place at least 14 days before the submission deadline — for 15 September 2026 that means by 1 September 2026. “As a rule” means exceptions are possible only by arrangement with the responsible officer; anyone who still wants this date should ask right away rather than writing it off.
Log-in details for the application database are issued only after that conversation. If your budget is larger, this is not your date: the next High End submission deadline is 27 October 2026, the one on 25 August 2026 having passed. The programme is running and the dates are published.
As at 26 August 2026 the next reachable submission deadline for this funding area is 15 September 2026 (Director's Cut committee); the High End deadline of 25 August 2026 passed the day before, and the next one is 27 October 2026. What decides in practice is not the date itself but the lead time: the mandatory consultation should, as a rule, have taken place at least 14 days before the submission deadline, so by 1 September 2026 for the 15 September date — six days from this status date (26 August 2026). Anyone who cannot reach the funding officers this week should realistically plan for 3 November 2026 (Director's Cut committee) or 27 October 2026 (High End committee), depending on which committee covers their budget.
No exhaustion of the year's volume and no intake stop has been published for MOIN Filmförderung — unlike the federal DFFF, whose intake for projects shooting in 2026 has been closed since 20 August 2026. The budget position is unusually favourable: Hamburg raised the fund's budget by €5m in each of 2025 and 2026 (a total of around €20m a year), and the Senate's draft double budget for 2027/28 proposes to make that increase permanent, subject to approval by the Bürgerschaft (MOIN Filmförderung, 7 July 2026). The legal basis runs to 30 June 2029 (Ziffer F).
Not rolling submission but fixed deadlines per committee; MOIN may set submission deadlines for every funding measure (Ziffer C). This funding area has two committees with separate dates, and which one applies turns on the projected production costs: “High End” for films and series with production costs above €2.5m and theatrical documentaries above €1.5m, “Director's Cut” for films and series below €2.5m and theatrical documentaries below €1.5m. Series are decided by these same two committees at the same submission deadlines, but under their own Merkblatt (series funding) with its own required documents; this record covers only the Produktion Spielfilm und Kinodokumentarfilm funding area.
The Richtlinien, however, do not draw the line on budget alone: under Ziffer B|2.1 I, projects below those thresholds also fall into the first group where the share of Drittmittel — licences, minimum guarantees, broadcaster money and private equity — exceeds 35% of the project; only where that share is below 35% does Ziffer B|2.1 II apply. MOIN's own FAQ instead speaks of “a market share in the financing of more than 30%”, and the programme pages give the budget thresholds only. The Richtlinie governs; anyone close to one of the thresholds should settle the allocation in the consultation.
Submission deadlines in 2026: High End committee 25 August 2026 and 27 October 2026, Director's Cut committee 15 September 2026 and 3 November 2026. The application must be complete and submitted digitally by 23:59 on the day of the deadline at the latest; submission is exclusively online through the application database, and log-in details are issued by the funding officers after the consultation. An application must be preceded by a consultation (Ziffer C); the Merkblatt calls it an absolute precondition and requires that it should as a rule have taken place at least 14 days before the submission date.
Work on the project must not have started at the time of application, and in particular shooting must not have begun. Before a new application, revenues from earlier MOIN awards must have been reported. As at 26 August 2026 no 2027 submission dates are published; the FAQ state the rule as four submission dates per year per committee.
MOIN Filmförderung publishes no maximum award for production funding. The Richtlinien do state express ceilings for development (Ziffer B|1.1.6: €100,000 for feature films, €50,000 for documentaries, €150,000 for serial formats; Ziffer B|1.2.1: €150,000 for project development) and €200,000 for distribution (Ziffer B|4.3) — for production under Ziffer B|2 no such figure exists. What limits the award instead is the share: funding should not exceed 50% of the calculated total production costs; difficult audiovisual works and co-productions involving countries on the OECD Development Assistance Committee (DAC) list may in principle be funded up to 80% with the consent of the responsible committee, and further exceptions are possible on application under Art. 54 of Regulation (EU) No 651/2014 (the General Block Exemption Regulation, AGVO) (Ziffer B|2.3).
Footnote 3 of the Richtlinien defines difficult audiovisual works as including short films, first and second theatrical films by a director, producer or writer, documentaries, low-budget productions, experimental works and children's and youth films. The money takes the form of an interest-free, conditionally repayable loan (erfolgsbedingt rückzahlbares Darlehen), not a grant (Ziffer A|2 and B|2.1; Merkblatt Produktion, section 2). It is repaid out of all exploitation revenues flowing to the producer: once the contractually agreed priority position has been recouped, at most 50% of the incoming revenues must be applied to repayment, in proportion to the co-financing share; where other funding bodies are involved, an agreed repayment schedule within a 50% funding corridor must be submitted (pari passu repayment, each funder recouping in step).
The repayment period is set project by project and runs for at least five years from theatrical release or first broadcast; the obligation to pass on revenue shares as a rule ends five years after exploitation begins (Merkblatt section 8; Ziffer B|2.12). What is actually awarded in the absence of a published ceiling is visible in MOIN's own funding decisions: across the sessions of the High End and Director's Cut committees from 15 March 2024 to 6 July 2026, 91 production awards were made, ranging from €15,000 to €1.3m, with a median of €150,000. The Director's Cut committee awarded between €15,000 and €500,000 (median €107,500), the High End committee between €70,000 and €1.3m (median €250,000).
Two awards mark the top end: €1.3m for “Hamburg Days” and €1.1m for “Miniatur Wunderland”, both in the High End session of 23 September 2025. The 2024 annual report records, for this funding area alone — excluding the twelve short-film awards, which are made as a grant by a separate committee under Ziffer B|2.1 III — 32 theatrical production awards totalling €6,399,616: 19 fiction features accounted for €5,526,616 and 13 documentaries for €873,000 — an arithmetic average of roughly €67,000 in documentary. The audit fees also need budgeting: they must be calculated into the application, are withheld from the award plus VAT and paid directly to the auditing firm.
Selective funding decided by committee, with no legal entitlement: applications are as a rule decided by Vergabegremien (allocation committees) under Ziffer C. Two committees cover this funding area, and which one is responsible turns on the projected production costs — “High End” for films and series above €2.5m and theatrical documentaries above €1.5m, “Director's Cut” for everything below. Funding is granted only on application, there is no entitlement to it, and funding decisions are communicated in writing but not reasoned (Ziffer C; Merkblatt section 4).
Funding one measure creates no claim to funding for the measures that follow.
01Producers may apply, not directors and not writers (Ziffer B|2.1 I and II; Merkblatt section 3). Anyone directing without also producing needs a production company as the applicant. The Produktion Dokumentarfilm page adds expressly that this “also includes producers who produce their own film”. Neither the Richtlinien nor the Merkblatt require a seat, branch or place of business in Hamburg or Schleswig-Holstein; the published funding decisions from 2024 to 2026 include production companies from Berlin, Munich, Hanover and Bremen. Nor do the Richtlinien prescribe a minimum German participation for this funding area; for international co-productions the German financing share is the basis of calculation (Merkblatt section 6).
02Students: MOIN's FAQ record that students on film degree courses are as a rule excluded from applying, and refer to the individual Merkblätter for the detail. The Merkblatt Produktion Spielfilm und Kinodokumentarfilm names only “Produzent*innen” as eligible and contains no express exclusion. The exclusion is expressly regulated only for development funding: projects carried out as coursework for a degree are not eligible there (Ziffer B|1.1.2). Anyone studying or recently graduated should settle this in the consultation.
03What is funded: the production of feature-length (programmfüllend) films. Funding is possible where the film promises mainly commercial success in cinemas or particular regional economic significance for the funding region (Ziffer B|2.1 I). Neither the Richtlinie nor the Merkblatt Produktion states a minimum running time; MOIN does, however, define programmfüllend in its Definition „Talentfilm“ (version of April 2025) as at least 79 minutes, or at least 59 minutes for children's films.
04Which committee is responsible turns on the budget: “High End” for films and series with production costs above €2.5m and theatrical documentaries above €1.5m (Ziffer B|2.1 I), “Director's Cut” for films and series below €2.5m and theatrical documentaries below €1.5m (Ziffer B|2.1 II). The Richtlinie, however, assigns projects below those thresholds to the first group where the share of Drittmittel in the project exceeds 35%; under footnote 2, Drittmittel means licences, minimum guarantees, broadcaster money and private equity. MOIN's FAQ describe the same dividing line as “a market share in the financing of more than 30%”, while the programme pages and the calendar give the budget thresholds only. This record follows the Richtlinie as the tier 1 source and flags the divergence; the allocation should be settled in the consultation.
01Important: which officer is responsible depends on your format, not a general address — see below. A consultation with the responsible Förderreferent*in (funding officer) — an absolute precondition, and as a rule it must have taken place at least 14 days before the submission date. Jens Kiefer covers German fiction features, children's films and animation (kiefer@moin-filmfoerderung.de), Mathieu Dolenc documentary (dolenc@moin-filmfoerderung.de) and Katrin Mersmann international co-productions (mersmann@moin-filmfoerderung.de). By way of preparation MOIN expects an e-mail with your CV, a short synopsis and some core information about the project, and asks that you read the Merkblatt beforehand (FAQ 1.1).
02Registration for the application database. After the consultation you send an e-mail giving the applicant's name, registered address, telephone number and e-mail address, together with the amount you intend to apply for, the working title of the project and details of the submission date and committee; production companies additionally give the names and e-mail addresses of their managing directors. Log-in details are issued only for a first application and remain valid thereafter (FAQ 1.3).
03Applications are made exclusively online through the application database; there is no paper route. The application must be complete and submitted digitally by 23:59 on the day of the submission deadline at the latest (Merkblatt section 4). Paperless application replaces the printout and signature with a legally binding confirmation, ticked in the “Erklärungen” tab (FAQ 3.7).
04A synopsis of the content, at most 5,000 characters, in the application database.
05The writers' filmography and CV and a company profile of the production company, each at most one page.
As a rule, at least 14 days before the submission deadline — for 15 September 2026 that means by 1 September 2026Compulsory consultationAn application must be preceded by a consultation (Ziffer C). The Merkblatt calls it an absolute precondition and requires that it should as a rule have taken place at least 14 days before the submission date; the funding-area page puts the same rule as an obligation. This is not a formality: log-in details for the application database are issued only after that conversation, and by way of preparation MOIN expects an e-mail with your CV, a short synopsis and core information about the project. The funding-area pages point first-time applicants to group consultations; but as at 26 August 2026 no group consultation is published for Produktion Spielfilm und Kinodokumentarfilm, only one for short film. Whether an individual appointment can be arranged instead, and how quickly, should be checked with MOIN — it decides whether the next submission deadline is reachable at all.
15 September 2026, by 23:59Director's Cut submission deadlineThe application must be complete and submitted digitally by 23:59 on the day of the submission deadline; submission is exclusively online (Merkblatt section 4). This committee covers films with production costs below €2.5m and theatrical documentaries below €1.5m. If your budget is above that — or if under Ziffer B|2.1 I your Drittmittel share exceeds 35% — you submit to the High End deadline instead, that is 27 October 2026. The next Director's Cut deadline after this one is 3 November 2026.
After the deadline, on a date not published in advanceCommittee session and funding decisionApplications are as a rule decided by allocation committees (Ziffer C). MOIN does not publish the session dates in advance — the dates in the calendar are submission deadlines. The published funding decisions show 2026 sessions on 10 February, 11 March, 30 June/1 July and 6 July. Funding decisions are communicated in writing but not reasoned, and there is no entitlement to funding (Merkblatt section 4). The committees are made up of industry figures plus the fund's management and are named in the annual report.
MOIN Filmförderung is the joint fund of the Free and Hanseatic City of Hamburg and the Land of Schleswig-Holstein, and so the only Land fund covering the whole of northern Germany. The 2024 annual report records income of €17.4m: Hamburg €9.5m (54.6%), the Medienstaatsvertrag (the interstate media treaty) €2.5m (14.4%), repayments and other funds €1.8m (10.3%), and €1.2m each (6.9%) from the Land of Schleswig-Holstein, from NDR and from ZDF. MOIN's own website now gives Hamburg at €14.6m, Schleswig-Holstein at €1.2m, NDR and ZDF at €1.2m each, repayments at €1.2m and a fixed share of the broadcasting fee at €2.5m.
The reason is a budget increase: Hamburg raised the budget by €5m in each of 2025 and 2026 — taking the total to around €20m a year — and the Senate's draft double budget for 2027/28 proposes to make that increase permanent, subject to approval by the Bürgerschaft (MOIN Filmförderung, 12 December 2024 and 7 July 2026). Project funding in 2024 came to €12,119,191 across 226 projects, of which €8,361,191 went to production funding across 51 projects. Within theatrical production funding that was 44 projects and €6,796,116: 19 fiction features with €5,526,616, 13 documentaries with €873,000 and 12 short films with €396,500.
The Regionaleffekt in 2024 stood at 315% on projects that had been finally accounted for (funding volume €9,710,495, actual effect €30,620,899) and at 236% on projects awarded. In 2026 up to 6 July, the High End and Director's Cut committees awarded 27 production loans totalling around €7.08m; the first funding round of the year distributed more than €4.4m across 35 projects in all committees. As at 26 August 2026 nothing has been published about the year's volume being exhausted or about any intake stop.
The competition is decided in committee, not on the calendar: within one submission date all applications go to the same session, and submitting early brings no advantage. What matters is being allocated to the right committee and filing a complete application — funding decisions are communicated in writing but not reasoned, so a rejection yields nothing you can work with, which makes the compulsory consultation all the more important. The scale of the sessions is modest: since March 2024 the two production committees have awarded between one and eleven production loans per session, with session totals from around €135,000 to €3.5m.
The High End committee makes markedly larger individual awards (median €250,000, with peaks of €1.1m and €1.3m), the Director's Cut committee smaller ones (median €107,500). One figure recurs strikingly often, €377,247 — it belongs to the Nordlichter talent programme run by NDR, nordmedia and MOIN, under which several emerging-talent projects were funded. Also relevant to the market situation: the federal DFFF closed its intake for projects shooting in 2026 on 20 August 2026 because its funds were exhausted, and producers switching to Land funding is likely to increase pressure, though as at 26 August 2026 no figures on that have been published.
Conversely, the budget increase now being made permanent suggests MOIN can hold its volume.
Within MOIN the stages before and beside this one sit in the same Richtlinie but as separate funding areas with their own Merkblätter and their own dates: development funding through the NEST platform, which takes ideas to a finished screenplay or concept and can reach up to €100,000 for feature films, €50,000 for documentaries, €150,000 for serial formats and €50,000 for innovative formats (Ziffer B|1.1, next date 12 October 2026); project development for feature-length theatrical films and serial formats, capped at €150,000 (Ziffer B|1.2.1 I); Incentive Funding as a slate award for small and medium-sized companies of up to €160,000 (Ziffer B|1.3); Materialsicherung (securing material) of up to €15,000 for unforeseeable and irretrievable events, decided by the management (Ziffer B|2.14); completion funding in justified exceptional cases, which requires a rough cut (Ziffer B|2.15); series production with its own Merkblatt; short film production, the only production type awarded as a grant and decided by the short film committee (Ziffer B|2.1 III, dates 1 September 2026 and 27 October 2026); innovative audiovisual content through the Innovativ committee (27 October 2026); and distribution measures as a loan of up to €200,000 or a grant of up to €50,000 for special measures (Ziffer B|4). Note how they interlock: where a project is funded at the development stage under Ziffer B|1, an application for production funding must also be filed with MOIN for that project (Ziffer C). Alongside federal funding, MOIN money and DFFF I are not mutually exclusive; what limits the total is Art. 8 AGVO and the 50% limit in Ziffer B|2.3. If you do not meet the access conditions of this funding area, there are three realistic routes: develop the material first through NEST or project development; for a short film or an innovative format, go to the committee responsible for it; or, where the director is not also producing, co-produce the project with a production company that then becomes the applicant. For a direct comparison with other Länder: FFF Bayern caps its award at €3m and as a rule requires a distribution contract, which MOIN does not make a condition for this funding area — there, details of the status of the distribution or world sales agreement are enough.
These notes stay in German on purpose: they quote the conflicting sources word for word, and a caveat is the first thing lost in translation.
01Abgrenzung der beiden Gremien – drei Formulierungen, drei Ergebnisse. Die Richtlinien ordnen nach Ziffer B|2.1 I auch Filme und Serien unter 2,5 Mio. € und Kinodokumentarfilme unter 1,5 Mio. € dem High-End-Bereich zu, sofern der Anteil der Drittmittel am Projekt über 35 % beträgt; die FAQ der MOIN Filmförderung nennen dieselbe Abgrenzung als „Marktanteil in der Finanzierung von über 30%“; die Förderart-Seiten, die Übersichtsseite und der Terminkalender nennen ausschließlich die Budgetschwellen. Der Datensatz folgt der Richtlinie als Tier-1-Quelle (35 % Drittmittel) und weist die Abweichungen in deadline.ruleDe/En und eligibilityDe/En aus. Bei der MOIN Filmförderung zu klären, weil die Zuordnung über den Einreichtermin entscheidet – ein Antrag beim falschen Gremium kostet einen ganzen Turnus.
02Sitzungstermine der Gremien: Die veröffentlichten Daten (25.08.2026 und 27.10.2026 High End, 15.09.2026 und 03.11.2026 Director's Cut) sind ausdrücklich Einreichtermine, obwohl sie im Kalender unter dem Namen des Gremiums geführt werden. Wann das jeweilige Gremium tagt und wann die Entscheidung fällt, veröffentlicht die MOIN Filmförderung nicht vorab. Aus dem Projektarchiv ergeben sich für 2026 Entscheidungsdaten am 10.02., 11.03., 30.06./01.07. und 06.07.; eine belastbare Regel für den Abstand zwischen Einreichtermin und Entscheidung lässt sich daraus nicht ableiten, weil die zugehörigen Einreichtermine nicht mehr veröffentlicht sind. Für die Finanzierungsplanung beim Sender oder bei der Bank ist der Entscheidungszeitpunkt zu erfragen.
03Einreichtermine 2027: Am 26.08.2026 sind keine Termine für 2027 veröffentlicht. Die FAQ nennen als Regel vier Antragstermine pro Jahr und Gremium. Sobald die Termine 2027 erscheinen, sind date und deadline zu aktualisieren.
04Studierende als Antragstellende: Die FAQ (Ziffer 1.5) halten fest, dass Studierende von Filmstudiengängen in der Regel von der Antragstellung ausgeschlossen sind, und verweisen auf die Merkblätter. Das Merkblatt Produktion Spielfilm und Kinodokumentarfilm enthält keinen ausdrücklichen Ausschluss und nennt als antragsberechtigt allein „Produzent*innen“. Ausdrücklich geregelt ist der Ausschluss nur für die Developmentförderung (Ziffer B|1.1.2: Projekte als Leistungsnachweis im Rahmen eines Studiums). Der Datensatz gibt beide Fassungen wieder; bei der MOIN Filmförderung zu klären.
For all production types under Ziffer B|2.1 they run: €255 on awards up to €10,200, €1,022 up to €25,500, €1,533 up to €51,100, and 3% of the award above €51,100, with any amount above €511,292 charged at only 1% (Merkblatt Gebührentabelle Prüfungskosten). If the project previously received a development loan under Ziffer B|1, that amount is withheld from the production award (Merkblatt section 7), and the development costs are counted into the total budget and into the calculation of the maximum funding rate (Ziffer C).
05The consultation is a condition of access: an application must be preceded by a Beratungsgespräch (Ziffer C). The Merkblatt calls it an absolute precondition and requires that such conversations should as a rule have taken place at least 14 days before the submission date; the funding-area page puts the same rule as an obligation. Without that conversation there are no log-in details for the application database — which makes the effective deadline two weeks earlier than the published date.
06Eigenanteil (own contribution to the financing): applicants must contribute an appropriate share of their own, which should be at least 5% of the production costs; the management decides on exceptions (Ziffer B|2.4). The Merkblatt puts it as a share that “as a rule must not fall below 5% of the production costs”. It consists of own funds — cash and loans carrying an unconditional repayment obligation only — of Rückstellungen (deferrals), Beistellungen (contributions in kind) and money for advance licence grants, in each case confirmed in writing for the making of the film. Third-party deferrals are as a rule recognised as recoupable in priority; the recipient's own deferrals only in so far as the amounts entered are recognised as customary in the market, and their recognition as recoupable in priority can be capped at 10% of the recognised costs.
07Start of the project: work on the project or the measure applied for must not have begun at the time of application (Ziffer C); the Merkblatt makes clear that shooting must not have started before the application. The published documents contain no provision for consent to an early start of work. For documentary, the published documents do not make clear where research or viewing footage already shot ends and the start of shooting begins, even though the application expressly asks for viewing material. Anyone who has already shot footage should settle this in the consultation before applying.
08Regionaleffekt — looser than in most Länder, but binding project by project: the Merkblatt states that at least 150% of the award should be spent in Hamburg and/or Schleswig-Holstein, and that the effects must be shown separately by Land (Merkblatt section 6). Under Ziffer B|2.6, applicants must also set out in detail, at the time of application, what share of the production costs they will spend in the funding region. The Richtlinie frames the same figure at institution level: the aim is that 1.5 times the total funding awarded in the current year should be spent in the funding region (Ziffer A|1). The Merkblatt “Vereinbarungen zum Regionaleffekt” (version of July 2022) states expressly that “unlike in other federal states, a regional effect is not mandatory for each individual project”; what is required is an annual average of at least 150% across all funded measures, and the concrete effects are fixed project by project and bindingly in the funding letter on the basis of the applicant's own figures. Notwithstanding that, recipients may spend at least 20% of the total production costs in another state of the European Economic Area (Ziffer A|1). Shooting days should additionally take place in the funding region to an appropriate extent.
09What counts towards the Regionaleffekt is decided by the Steuerprinzip (tax principle), not by the shooting location: what governs is the place where the service is invoiced and taxed. Staff costs and fees can be recognised only where the person is registered as resident in the funding region; for individual receipts above €150 a valid tax number is also required. Where invoicing is centralised, exceptions are possible if a local branch is evidenced — through the commercial register, the trade registration or the trade tax apportionment notice, rented business premises with the necessary technical equipment, and at least one permanently employed, professionally qualified member of staff. Accommodation booked through platforms such as Airbnb does not count in principle (Merkblatt Vereinbarungen zum Regionaleffekt, version of July 2022).
10No legal entitlement: funding is granted only on application, there is no entitlement to it, and applications are as a rule decided by allocation committees (Ziffer C). Funding decisions are communicated in writing but not reasoned, and funding one measure creates no claim to funding for the measures that follow (Merkblatt section 4).
11Revenue reporting as a precondition: at the time of application all obligations towards MOIN arising from any earlier projects should have been met, in particular the reporting of revenues through the revenue tool at erloese.moin-filmfoerderung.de (Merkblatt section 6). This has to be confirmed by ticking a box in the “Erklärungen” tab of the application database (FAQ 3.7).
12Content exclusions: funded projects must not glorify violence, be hostile to foreigners or minorities, or be pornographic in what they say (preamble to the Richtlinien). Funding decisions should be taken exclusively on qualitative and/or economic criteria.
13State aid exclusions: no individual aid may be granted to an undertaking that has failed to comply with a recovery order following an earlier Commission decision; undertakings or groups in difficulty within the meaning of Art. 2 no. 18 AGVO are likewise ineligible (Ziffer E).
14Cumulation: MOIN funding may be cumulated with funding from other bodies; where German or European law — Art. 8 AGVO — sets ceilings on the cumulation of state funding, those must be observed (Ziffer C). For projects subject to the Filmförderungsgesetz (FFG, the federal film funding act), the FFG in its currently valid version applies to MOIN's funds as well and governs the procedural details not covered by the Richtlinie and the Merkblätter.
15A tie to the production stage: where a project is funded at the development stage under Ziffer B|1, an application for production funding must also be submitted to MOIN for that project (Ziffer C). Where both are funded, the development costs are taken into the total budget and counted in calculating the maximum funding rate; a loan already granted under Ziffer B|1 is withheld from the production award (Merkblatt section 7).
16The points that follow are not access conditions but requirements for the budget, the contract and the exploitation of the film. They nonetheless already affect the budget and financing plan you submit.
17Budget requirements: the budget must be broken down as is customary in the industry and contain all necessary cost items, even where these are provided as own services, contributions in kind or deferrals. The project's costs to date, including screenplay and project development, must be shown, and producers' fees are counted in. Own services must be shown separately and are recognised in the final accounting only at the budgeted amount. Costs must be entered net of VAT and all amounts in euros. The ceilings in the “Grundsätze sparsamer Wirtschaftsführung” (principles of economical management) of the FFA's project film funding guideline must not be exceeded. The FFA budget template should be used wherever possible, and for international co-productions an FFA-format cover sheet must be attached in every case (Merkblatt section 6).
18Costs that belong in the budget: the audit fees under the fee table, the cost of a copy for permanent archiving at the Bundesarchiv (the federal archive) and digital deposit copies. Screening prints beyond that are not recognised as production costs. For feature-length films whose financing includes funds from the Filmförderungsanstalt (FFA), an accessible final version is mandatory; MOIN recognises the corresponding costs in the budget and the final accounts (Merkblatt section 6).
19Fees and social standards: the Mindestlohngesetz (the statutory minimum wage act) applies. MOIN expects that films produced with a German majority and a preponderance of shooting days in Germany observe social standards and pay at least the collectively agreed rates. Exceptions are possible for emerging-talent productions under the Merkblatt Nachwuchs and for low-budget productions with production costs of up to €1.5m (Merkblatt section 6). An appropriate contribution to vocational training and continuing education must also be ensured within the production (Ziffer B|2.11).
20Sustainability and diversity: a completed diversity declaration must be attached to the application and the ecologically sustainable delivery of the measure confirmed (Merkblatt section 6). In production, applicants agree at the point of application to comply with the criteria catalogue of the Green Motion Label and to meet its mandatory criteria; applications for fiction and animation production use the “Produktion” diversity checklist (FAQ 3.8 and 3.9). Green consultants may be budgeted in the normal way.
21Allocation of rights: MOIN expects that where rights of use are transferred, they are divided fairly and appropriately in line with the financing shares of the individual co-partners. Where a broadcaster participates in a theatrical co-production, a division of rights matching the terms for theatrical co-productions within the FFA under the Film- und Fernsehabkommen (the film/television agreement) is treated as appropriate (Ziffer B|2.8).
22Holdback periods: the exploitation of funded theatrical films is governed by the provisions of the Filmförderungsgesetz (FFG) in force when the funding contract is signed; the management decides on exceptions, which require a written application (Ziffer B|2.7, Merkblatt section 6).
23Première, credits and press: the German première of funded projects should take place in the funding region (Ziffer B|2.10, Merkblatt section 9). All publications must refer to the funding in an appropriate form; the rules on the crediting obligation apply. Where shooting takes place in Hamburg and/or Schleswig-Holstein, a press date must be scheduled and agreed in good time, and press material must be provided free of charge in line with the relevant Merkblatt.
24Retention and audit rights: all documents connected with the funding must be retained for at least ten years after payment and produced within a maximum of 20 working days on request by the fund, the authorities of Hamburg and Schleswig-Holstein or the European Commission; breach of these duties can lead to recovery of the aid (Ziffer D). The budget, financing, final accounts and, where applicable, the revenue statements are audited by a film-literate auditing firm on behalf of and at the expense of the recipient; for costs incurred by a foreign co-producer, a certificate from a foreign tax adviser or auditor must be produced (Merkblatt sections 6 and 7).
06The writer's statement, at most one page.
07The producer's statement including the genre classification and target audience, at most one page.
08The screenplay, or for documentaries a project-specific description.
09A financing plan showing the state of the financing. The sum of all financing components must cover the total production costs in full, and the amount applied for from MOIN must appear as its own component with the financing type “Öffentliche Förderung (nicht Creative Europe)” (public funding, not Creative Europe) (FAQ 3.4). If anything material changes before the funding decision, the funding officers must be informed.
10Details of the acquisition of the adaptation and exploitation rights (Verfilmungs- und Auswertungsrechte) in the underlying material, screenplay and title — entered in the application database. Contracts and letters of intent need not be submitted, but may be requested during processing (FAQ 3.6).
11A one-page cost summary with an overview of the regional effects, shown separately for Hamburg and for Schleswig-Holstein; effects arising in other federal states must also be shown separately. A one-page budget template is available in the download area; the detailed budget with the regional effects broken down is requested where needed (Merkblatt section 5, FAQ 3.5).
12Details of the agreements with co-producers: contracting parties, division of rights, financing shares, responsibilities and revenue splits — in the application database.
13A crew and cast list for the main positions, each with status (approached/confirmed) and the tax-relevant place of residence. The place of residence serves to substantiate the Regionaleffekt and is therefore not a formality.
14A one-page statement of the number of shooting days together with information on the planned locations in Hamburg and/or Schleswig-Holstein, for instance interior/exterior and planned/permitted.
15A national and international exploitation plan, at most one page, including relevance and target audience, unique selling point and festival strategy.
16Details of the status of the distribution contract or the world sales agreement, stating the relevant key terms — in the digital application database.
17A completed diversity declaration. Applications for fiction and animation production use the “Produktion” diversity checklist (Merkblatt section 6, FAQ 3.8).
18Confirmation that the measure will be carried out in an ecologically sustainable way; in production you must agree to the criteria catalogue of the Green Motion Label and comply with its mandatory criteria (Merkblatt section 6, FAQ 3.9).
19For international co-productions, an FFA-format cover sheet for fiction and documentary or for animation; the FFA budget template should be used for the cost breakdown wherever possible.
20Viewing material where available: viewing links are entered in the “Angaben zum Filmvorhaben” tab, at most two relevant links (FAQ 3.2).
21A statement of whether funding for the measure has already been applied for or granted by other institutions, and an entry in the “Erklärungen” tab recording whether the project has already been put to other funding bodies (Merkblatt section 6, FAQ 3.7).
22A ticked confirmation that revenues from previously funded MOIN projects have been reported (FAQ 3.7).
23To budget for, but not to submit: the audit fees under the fee table. They must be calculated on the basis of the funding applied for at the application stage and are later withheld from the award plus VAT.
After the funding is awardedFurther documents and auditAfter the award MOIN requests up-to-date documents relevant to signing the contract. Once the financing is closed, the documents go to the appointed auditing firm; the Regionaleffekt guidance names PwC as the responsible auditor. The audit fees are withheld from the award plus VAT and paid directly to the auditing firm (Merkblatt section 7). The conditions set out in the award letter are binding; deviations that have not been approved can lead to the award being withdrawn or reduced.
From signature of the contract, normally in five instalmentsPaymentPayment of the award requires evidence that the total financing of the project is secured (Ziffer B|2.2). Payment is made as needed, normally in five instalments: a first instalment of 25% of the award on signature of the contract and proof that the financing is closed, and a final instalment of 10% after completion and final accounting; the second to fourth instalments follow project progress and the corresponding evidence (Merkblatt section 7, Ziffer B|2.5). If the project previously received a development loan under Ziffer B|1, that amount is withheld.
Time-limited, with the period set in the award letterValidity of the awardAwards are valid for a project-specific limited period, set bindingly in the award letter. Requests for an extension must be made in writing in good time before that period expires (Ziffer C, Merkblatt section 9). The published documents state no standard deadline for evidencing the total financing or for the start of shooting — as some other Land funds do; the actual time limit is in the award letter.
During shooting in Hamburg and/or Schleswig-HolsteinPress date and crediting obligationWhere shooting takes place in the funding region, a press date must be scheduled and agreed with MOIN in good time. All publications must refer to the funding in an appropriate form; the rules on the crediting obligation apply. Press material must be provided free of charge in line with the relevant Merkblatt (Merkblatt section 9, Ziffer B|2.9).
After completionFinal accounting, deposit copies and premièreThe budget, financing and final accounts are audited by the appointed auditing firm; for costs incurred by a foreign co-producer, a certificate from a foreign tax adviser or auditor must be produced (Merkblatt sections 6 and 7). A copy for permanent archiving at the Bundesarchiv and digital deposit copies must be included in the budget. The German première should take place in the funding region, and dates should be agreed with MOIN early (Ziffer B|2.10, Merkblatt section 9).
From the start of exploitation, for at least five yearsRepayment of the conditionally repayable loanBefore repayment begins, the own funds recognised as having priority may be retained. After that the loan must be repaid out of all exploitation revenues flowing to the producer: once the contractually agreed priority position has been recouped, at most 50% of the incoming revenues must be applied, in proportion to the co-financing share. Where other funding bodies are involved, a repayment schedule agreed with them within a 50% funding corridor must be submitted (pari passu repayment). The repayment period is set project by project and runs for at least five years from theatrical release, first broadcast or publication; it is extended where longer terms have been agreed with other funders. For international co-productions, revenues should be distributed through a collecting agent, and MOIN must be named as a direct beneficiary in the collection agreement (Merkblatt section 8, Ziffer B|2.12).
For four years from the first repayment claim arisingReferenzmittel (recycled funds) for the next projectAmounts repaid can be applied for again for a next film project or another measure under the Richtlinien. These Referenzmittel are tied to the borrower and are available to them on application for four years from the date MOIN's first repayment claim arose. Applications can be made at any time and are decided by the management (Merkblatt section 8, Ziffer B|2.13). In particular exceptional cases, producers based in Hamburg and Schleswig-Holstein may use Referenzmittel as de minimis aid to strengthen the equity of their production company.
05Stand des Merkblatts Produktion: Das am 26.08.2026 auf moin-filmfoerderung.de veröffentlichte Merkblatt trägt den Stand Juli 2024 und ist damit älter als die Richtlinien (Stand Januar 2025). Ein neueres Merkblatt ist nicht veröffentlicht. Bei Abweichungen zwischen beiden folgt der Datensatz der Richtlinie. Ebenfalls älter: das Merkblatt Vereinbarungen zum Regionaleffekt mit Stand Juli 2022.
06Datierung der Richtlinien: Die Kopfzeile nennt „Stand: Januar 2025“, Ziffer F nennt als Inkrafttreten den 03.07.2024. Ob die Fassung vom Januar 2025 gegenüber der Fassung vom 03.07.2024 inhaltlich geändert wurde, ist aus dem veröffentlichten Dokument nicht erkennbar; eine Änderungshistorie fehlt.
07Veraltete Angaben in den FAQ: Die FAQ nennen unter Ziffer 3.11 eine De-minimis-Höchstgrenze von 200.000 € in drei Jahren, während die Richtlinien in Fußnote 4 auf Grundlage der Verordnung (EU) 2023/2831 300.000 € nennen. Für diese Förderart ohne Folgen – die Produktionsförderung wird nach Art. 54 AGVO gewährt, nicht als De-minimis-Beihilfe –, aber ein Hinweis darauf, dass die FAQ nicht durchgehend aktuell sind. Ebenfalls veraltet: der in FAQ 1.2 genannte Link auf die Teamseite.
08Förderhöchstbetrag: Für die Produktion nach Ziffer B|2 veröffentlicht die MOIN Filmförderung keinen Höchstbetrag; der Datensatz setzt deshalb amountMax auf null und amountUnbounded auf true. Begrenzt ist die Förderung nur über die 50-%-Grenze der Ziffer B|2.3 (bis 80 % bei schwierigen audiovisuellen Werken und DAC-Koproduktionen) und über die verfügbaren Mittel. Die im Datensatz genannten Spannen (15.000 € bis 1,3 Mio. €, Median 150.000 €) stammen aus den veröffentlichten Förderentscheidungen vom 15.03.2024 bis zum 06.07.2026 und sind eine Beobachtung, keine Regel. Sollte die MOIN Filmförderung eine Obergrenze veröffentlichen, sind amountMax und amountUnbounded zu korrigieren.
09Auswertung der Förderentscheidungen: Grundlage sind 800 Einträge der öffentlichen Förderentscheidungs-Schnittstelle (die vier jüngsten Seiten zu je 200 Einträgen, sortiert nach Datum absteigend), gefiltert auf die Förderart Produktionsförderung in Sitzungen der Gremien High End und Director's Cut und dedupliziert über Titel, Datum und Summe, weil jeder Eintrag deutsch und englisch geführt wird. Ein Eintrag („Der schaurige Schusch“, 13.000 €, 27.03.2026) ist in der deutschen Fassung dem Gremium Kurzfilm, in der englischen dem Gremium Director's Cut zugeordnet; er ist ein achtminütiger Kurzfilm und wurde deshalb ausgeschlossen. Die Auswertung enthält auch Serienproduktionen, die zwar über dieselben Gremien, aber über ein eigenes Merkblatt laufen – eine Trennung nach Format ist über die Schnittstelle nicht möglich, weil Kategorie und Genre bei diesen Einträgen leer sind. Die genannten Spannen sind deshalb eher weit als eng.
10Fördervolumen 2025 und 2026: Der jüngste veröffentlichte Jahresbericht ist der für 2024. Die auf der Seite Über uns genannte Mittelherkunft (Hamburg 14,6 Mio. €, insgesamt 21,9 Mio. €) trägt kein Datum und lässt sich keinem Haushaltsjahr sicher zuordnen; die Pressemitteilung vom 12.12.2024 nennt ein Gesamtbudget von rund 20 Mio. € pro Jahr für 2025 und 2026. Mit dem Jahresbericht 2025 ist context.budget zu aktualisieren.
11Haushalt 2027/28: Die Verstetigung der Etaterhöhung um 5 Mio. € pro Jahr steht am 26.08.2026 im Senatsentwurf zum Doppelhaushalt 2027/28; die Hamburgische Bürgerschaft muss noch zustimmen (MOIN Filmförderung und Behörde für Kultur und Medien, 07.07.2026). Bis zur Verabschiedung ist das Volumen ab 2027 nicht gesichert.
12Beratungstermin für Erstantragstellende: Die Förderart-Seiten verweisen Erstantragstellende auf „unsere Sammelberatungstermine“. Auf der Website ist am 26.08.2026 jedoch nur eine Sammelberatung für den Bereich Kurzfilm ausgewiesen (nächster Termin 07.10.2026); für die Produktion Spielfilm und Kinodokumentarfilm ist kein Sammelberatungstermin veröffentlicht. Ob Erstantragstellende hier einen Einzeltermin vereinbaren müssen, ist bei der MOIN Filmförderung zu erfragen – für die Erreichbarkeit des Einreichtermins ist das die entscheidende Frage.
13Kontaktadresse: Die MOIN Filmförderung veröffentlicht keine allgemeine Sammeladresse für die Förderabteilung, sondern personenbezogene Adressen. Der Datensatz führt kiefer@moin-filmfoerderung.de (Jens Kiefer, Deutscher Spielfilm, Kinderfilm, Animationsfilm) als Primärkontakt und nennt in den Requirements zusätzlich dolenc@moin-filmfoerderung.de (Mathieu Dolenc, Dokumentarfilm) und mersmann@moin-filmfoerderung.de (Katrin Mersmann, Leitung Förderung, Internationale Koproduktion, Serie). Bei einem Personalwechsel sind die Namen zu aktualisieren.
14Geltungsdauer der Förderzusage: Ziffer C und Merkblatt Ziffer 9 nennen einen „projektbezogenen befristeten Zeitraum“, der in der Zusage festgelegt wird. Anders als bei anderen Länderförderungen gibt es keine veröffentlichte Regelfrist für den Nachweis der Gesamtfinanzierung oder für den Drehbeginn. Der Datensatz nennt deshalb keine Frist. Bei der MOIN Filmförderung zu erfragen, weil davon die Finanzierungsplanung abhängt.
15Format Animationsfilm und Kinderfilm: Beide sind nicht im Titel des Merkblatts genannt, laufen aber nachweislich über diese Förderart. Die Seite Animationsfilm verlinkt dieselbe Förderart „Produktion Spielfilm“; das Merkblatt verweist für die Kostenaufstellung ausdrücklich auf das FFA-Kalkulationsschema „Spiel- und Dokumentarfilm bzw. Animationsfilm“; die Definition „Talentfilm“ nennt für Kinderfilme eine eigene Mindestvorführdauer von 59 Minuten; und die Zuständigkeit von Jens Kiefer umfasst „Deutscher Spielfilm, Kinderfilm, Animationsfilm“. Unter den Förderentscheidungen der beiden Gremien finden sich entsprechend Kinder- und Animationsstoffe. Sollte die MOIN Filmförderung ein eigenes Merkblatt für Animation veröffentlichen, ist die Formatzuordnung zu prüfen.
16Abgrenzung zur Serie: Die Richtlinien behandeln Filme und Serien in denselben Ziffern B|2.1 I und II, und beide werden von denselben Gremien und an denselben Einreichterminen entschieden. Die MOIN Filmförderung führt für Serien jedoch ein eigenes Merkblatt (Serien: Projektentwicklung und Produktion) und eine eigene Förderart-Seite. Der Datensatz bildet deshalb nur die Förderart Produktion Spielfilm und Kinodokumentarfilm ab und führt serie nicht in formats. Das ist nur so lange unproblematisch, wie zeitnah ein eigener Datensatz moin-produktion-serie folgt – bis dahin finden Serienproduzent*innen den 15.09.2026 nicht über den Formatfilter serie, obwohl derselbe Einreichtermin für sie gilt.
17Dauer bis zum Beratungsgespräch – drei Formulierungen: Das Merkblatt (Ziffer 4, Tier 1) schreibt „grundsätzlich sollen diese Gespräche bis 14 Tage vor Antragstermin stattgefunden haben“, die FAQ (Ziffer 1.1, Tier 2) formulieren es härter als „muss spätestens zwei Wochen vor dem Antragstermin … stattgefunden haben“, und die Förderart-Seite (Tier 2) schreibt „müsst … bis spätestens 14 Tage vor dem Einreichtermin vereinbaren“ (vereinbaren, nicht stattfinden). Der Datensatz folgt der Formulierung des Merkblatts als Tier-1-Quelle: eine weiche Regel mit Ausnahme, keine harte Frist. Bei Unsicherheit ist umgehend bei der zuständigen Förderreferentin oder dem zuständigen Förderreferenten nachzufragen.
18Dauer der Tilgungsverpflichtung – Widerspruch zwischen zwei Tier-1-Dokumenten: Das Merkblatt Ziffer 8 nennt eine Tilgungslaufzeit von „mindestens fünf Jahre“ nach Kinostart beziehungsweise Erstausstrahlung, die sich bei längeren, mit anderen Förderern vereinbarten Laufzeiten verlängert – also einen Boden. Die Richtlinie Ziffer B|2.12 sagt dagegen, die Verpflichtung zur Abführung von Erlösanteilen „erlischt in der Regel fünf Jahre“ nach Auswertungsstart – also eine Obergrenze. Der Datensatz folgt im Zweifel der Richtlinie als der ranghöheren Quelle, weist aber beide Fassungen aus; die tatsächliche Laufzeit steht im Darlehensvertrag.
19Höhe der Etaterhöhung – zwei Lesarten: Die Pressemitteilung vom 12.12.2024 beschreibt die Etaterhöhung als „jeweils 5 Millionen Euro“ in den Jahren 2025 und 2026, zusammen also 10 Mio. € und ein Gesamtbudget von rund 20 Mio. € pro Jahr. Die Pressemitteilung vom 07.07.2026 nennt dieselbe Maßnahme „die 2025 eingeführte Etaterhöhung … in Höhe von 5 Millionen Euro pro Jahr“, was auf eine einmalige Stufe statt zweier kumulierter Erhöhungen hindeutet. Der Datensatz folgt der spezifischeren Angabe vom 12.12.2024; mit dem Jahresbericht 2025 ist context.budget zu überprüfen und gegebenenfalls zu korrigieren.
20Rechtsform der Antragstellenden: Ob eine natürliche Person ohne eigene Firma als „Produzent*in“ antragsberechtigt ist, oder ob eine Gesellschaft (GmbH, UG) beziehungsweise mindestens eine Gewerbeanmeldung vorausgesetzt wird, ist den veröffentlichten Unterlagen nicht ausdrücklich zu entnehmen; requirementsDe[1] verlangt Angaben zur Geschäftsführung nur „bei Produktionsfirmen“, was auf eine Ausnahme für Einzelpersonen hindeuten könnte. Für Antragstellende ohne eigene Firma bei der MOIN Filmförderung zu klären.
21Regiekommentar und Regie-Vita: Die Unterlagenliste des Merkblatts (Ziffer 5) verlangt Filmografie und Vita der Autor*innen sowie einen Autor*innen- und einen Produzent*innenkommentar, nennt aber keinen gesonderten Regiekommentar und keine gesonderte Regie-Vita. Ob das eine bewusste Abweichung vom Standard anderer Länderförderungen ist oder im Beratungsgespräch dennoch erwartet wird, ist bei der MOIN Filmförderung zu klären.
Only the funder's guideline in its currently valid version and the institution's own statements are binding. This page summarises; it replaces neither the guideline nor the advisory call.