Austria’s film and TV sector received a record €164.6 million in public funding in 2024, more than twice the level before the pandemic. The figures come from the new Film Industry Report Austria (Filmwirtschaftsbericht Österreich) 2025, which aggregates all federal and regional support instruments.
The increase is driven mainly by two federal incentive schemes introduced in recent years: ÖFI+ and FISAplus. In 2024, ÖFI+ accounted for around €29.7 million in payouts, while FISAplus distributed about €58 million. Together, they made up more than half of all film-related public funding.
Overall, the federal level now dominates the funding landscape. In 2024, 82 percent of all payouts came from federal bodies and from the ORF film and TV agreement. In 2020, the federal share had still been 65.4 percent. Regional funds covered the remaining 18 percent.
Within the regional segment, Vienna is the largest player. The City of Vienna and Filmfonds Wien together provided 63.2 percent of all regional film funding, corresponding to 11.4 percent of total public support nationwide. Lower Austria ranked second among the provinces.
Funding is increasingly concentrated on production. In 2024, 82.2 percent of public film funding went directly to production, up from 75.5 percent in 2021. In absolute terms, this represents about €135.3 million, an increase of roughly 55.8 percent compared with 2023.
Both theatrical and television projects saw higher support. Production funding for cinema films rose to around €56.1 million, the highest level since 2009 and about 16 percent more than in the previous year. Television and streaming projects received about €58.8 million, almost 90 percent more than in 2023. FISAplus alone covered around two-thirds of all television production payouts.
The report notes that the annual budget for ÖFI+ in 2024 was €38.8 million, while FISAplus was endowed with almost €90 million. These instruments are designed as automatic incentives that reimburse part of production spending in Austria or top up existing support from selective schemes.
Other parts of the value chain, such as development and distribution, received a smaller share of total funding than production, even if absolute amounts have not declined. The data indicate that policy has been oriented primarily toward increasing production volume and attracting shoots to Austria.
The combination of record funding levels, a high federal share and a strong focus on production suggests that public instruments are now a central pillar of film and TV financing in Austria, alongside broadcaster money and private investment. The report covers cinema, television and streaming projects and includes both domestic and international productions shot in the country.
