The Gradient
OpportunitySeptember 1st
Black Public Media Open Call

Black Public Media Open Call

THE 2026 OPEN CALL SUBMISSIONS PORTAL IS OPEN UNTIL OCT. 1.

Filmmakers are invited to submit feature-length nonfiction projects in a range of formats, styles, subject matter and genres.

BPM is particularly interested in stories that explore critical issues, promote cultural understanding and engage national audiences and/or local communities. All projects — which may be in pre-production, production or early post-production — must be suitable for public media distribution.

Open Call Informational Webinar

New to submitting to BPM’s Open Call?  BPM will hold an informational webinar on Wed., Sept. 9, at 6 PM ET. Attendees will receive guidance on how to apply and present a competitive proposal. Click on the button below to register.

Available Awards

  • Up to five (5) projects will receive $20,000 in production funding and an invitation to pitch at BPM’s 10th PitchBLACK in June 2027.
  • One of the five projects will then receive the PitchBLACK Award of up to $150,000 in production funding.

NOTE:  BPM funding awards are licensing agreements for public media distribution.

Eligibility

To be eligible for the Open Call:

  • The applicant must: (a) be the project’s producer or director, (b) be a US citizen, (c) have a minimum of three years professional producing and/or directing experience, or have a senior producer attached to the project;
  • The proposed project is nonfiction and feature-length (60-minutes or more);
  • The proposed project is in pre-production, production or early post-production;
  • The applicant must hold artistic, budgetary and editorial control, and must own the copyright of the proposed project;
  • Projects or production entities that are foreign‑based, owned, or controlled are not eligible. Industrial, promotional, and student films are also ineligible for consideration.

Frequently Asked Questions

BPM is especially interested in nonfiction projects that explore several urgent issues shaping Black life today. We are seeking work that examines the impact of anti‑DEI efforts on higher education, including how rollbacks in diversity, equity, and inclusion policies affect access, campus climate, and long‑term opportunities for Black students, faculty, and staff. We also encourage projects addressing housing inequities — from the barriers to homeownership to the growing houseless population and the systemic conditions that perpetuate instability. In addition, we welcome work that investigates redistricting’s impact on voting rights, particularly how shifting political boundaries reshape representation and influence the civic power of Black communities. These are extremely urgent, topical issues that would benefit from exploration through a Black perspective and lived experience. While we are actively looking for projects that engage with these themes, we welcome submissions on all subjects. The top‑rated project will receive funding regardless of its topic.

We accept nonfiction projects that incorporate experimental elements or hybrid approaches. This includes work that blends traditional documentary techniques with creative, stylistic, or genre‑bending forms — such as mixed media, reenactment, animation, or narrative‑infused nonfiction. As long as the project is grounded in real people, real events, or real-world inquiry, we welcome innovative storytelling methods that expand how nonfiction can be experienced.

To be eligible, applicants must have a minimum of three years of professional producing and/or directing experience, or they must have a senior producer attached to the project. Professional experience refers to working within the media industry in a media‑creation capacity — such as producing, directing, or other key creative roles — and having at least one completed project that has screened publicly, whether on a recognizable streaming platform, a broadcast outlet, or at a film festival.

If an applicant does not yet meet this level of experience, they may still apply with a senior producer who does. In this case, the senior producer must hold an official, paid key position on the project and remain in that role for the entirety of the production. This ensures that all projects have experienced leadership capable of guiding the work through development, production, and delivery.

At least one or more of the key production team members  (writer, director, producer) must be a U.S. citizen or green-card holder.

Given our mission to support authentic Black stories, we strongly encourage creative teams to include Black perspectives in meaningful ways. We encourage applicants to assemble diverse, culturally informed teams that can thoughtfully and responsibly engage with the material. Projects are strengthened when the storytelling is guided by lived experience and a range of voices.

Projects or production entities, which are foreign-based, owned or controlled will not be considered.

While a single producer or production team may submit multiple applications, each project must be submitted separately, and no more than one project from any producer or production team will ultimately receive support.

No, funds are only available for projects that are in pre-production, production, or post-production.

No. Applicants must hold artistic, budgetary and editorial control and must own the copyright of the proposed project.

For awarded projects, BPM will hold exclusive broadcast premiere rights for 4 years on public television. Projects for which the domestic broadcast and/or streaming rights are not available will not be considered.

Thesis projects or student films which are co- or solely-owned or copyrighted, or otherwise editorially or fiscally controlled by the school are not eligible.

These types of projects are not eligible for funding.

Yes, projects receiving organizational support are welcome to apply.

We will only consider extensions of a project’s schedule for selected projects with a fully executed agreement. Requests for schedule changes will not be accepted until midway through the licensing term.  Extensions in the production schedule are not guaranteed.

Application Details

Please give yourself plenty of time to complete the application. Don’t wait until the deadline to submit.  You will be asked to provide the following information:

  • PROJECT DESCRIPTION (synopsis, creative approach, production schedule, potential impact) 
  • PRODUCTION TEAM (resumes/bios for key creatives)
  • FINANCIALS (project budget and fundraising strategy)
  • VISUALS (work sample)

Please read the prompts carefully. The explanations and additional questions will guide you through each of the questions. Make sure your submission, as a whole, addresses the following:

  • STORY — Is the story compelling? Is the creative approach innovative and purposeful?
  • PROJECT IDEA — Has the filmmaker demonstrated access to and understanding of the subject or story? Does the project have the potential to engage audiences?
  • FEASIBILITY — Given the team’s experience, budget, and timeline, is the project achievable? Is the funding plan realistic?
  • QUALITY PRESENTATION — Does the work sample support the treatment and other proposal elements? Does the submission overall demonstrate high‑quality work?
  • PROJECT READINESS — Do all elements of your proposal clearly demonstrate your ability to receive the funding and use it to its fullest potential?

Review Process

A panel of media professionals from across the industry (public media executives, festival and station programmers, award‑winning filmmakers, and others) will evaluate all proposals through a two‑tier review process. Each project will be assigned multiple reviewers who will assess the full proposal and provide written notes outlining strengths as well as areas that may benefit from clarification or improvement. The panel uses the guidelines and prompts listed above to inform their evaluations, and draws on their experience and expertise to engage with each project in a thoughtful and supportive review.

Projects advancing to the second round will undergo an intensive deliberation, during which the panel discusses each submission individually and conducts a very careful, in‑depth review of the work.

The Funding Contract

Projects selected for funding will receive a BPM Production Agreement. The Agreement is not a grant but a licensing agreement in which BPM is granted exclusive or shared domestic public television distribution rights as well as the exclusive or shared right to package, schedule and promote the program. BPM makes no expressed or implied commitment to financially support a project until an agreement is signed by both the applicant and BPM.

Producers must comply with all equal employment opportunities and non-discrimination laws and policies, payola/plugola requirements and other applicable federal and state rules and regulations.

Now Offering Office Hours

Are you interested in submitting a project for consideration, but have questions that aren’t addressed in our FAQs? BPM Director of Programs Denise Greene is now offering opportunities for a limited time to interested makers during the week of Sept. 12-16. Consultations are for 10 minutes each and are available on a first-come-first-served basis. Calls are scheduled for 10 mins. each.

Sign up hours are:

Tues., Sept. 13 −1pm to 2:45pm

Wed., Sept. 14 −5pm-6:45pm

Sat., Sept. 17 −12pm-1:45pm

RSVP Here