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.