Not the largest. Not the oldest. The best —
in ambition, in execution, and in what it means for the filmmakers who pass through it.
The standard for short film production has been low for too long. YESYES exists to raise it — for every filmmaker we work with, for every film we make, and for the medium itself.
It demands total presence — in the writing, in the preparation, on the set, in the edit, in every decision that shapes what an audience will eventually feel in a darkened room.
The moment a filmmaker's attention divides — toward budgets, logistics, contracts, submissions, the endless administration of independent production — something in the work pays the price.
We take complete responsibility for everything that surrounds the creative act, so that the people making the films never have to. The business is ours. The creative is yours.
Most short films are made for under €10,000. Shot in a weekend. Mixed in a bedroom. Submitted to three festivals on a prayer. And then — nothing.
This is not a constraint of the form. It is a constraint of how short films have been produced and funded. The talent has always been there. The infrastructure has not.
YESYES sets a minimum of €50,000 per production — not because money makes great films, but because the absence of it destroys them. Professional crew. Proper time. Real post-production. A festival strategy that is actually a strategy.
Not for the market. Not for a genre. Not for a quota. Every screenplay submitted to YESYES is read in full — by a human, without filters, without algorithms — and selected on a single criterion: the quality of the writing and the strength of the story.
When a screenplay is selected, YESYES becomes a production partner — one that stays with the work from the first draft to the last festival, and treats every film in its care as if it were the most important film being made anywhere in the world.
Because for the filmmaker making it, it is.
It is a complete art form — with its own demands, its own masters, its own canon. The compression required to tell a story in ten minutes is a skill that the greatest directors never stop developing, no matter how many features they make.
And yet short film is treated, almost universally, as a rehearsal. A calling card. A proof of concept. Something to graduate from. YESYES refuses that framing entirely.
Every film we produce is treated as a finished work of cinema — not as a demo reel for the next thing. If it also opens doors for the filmmaker, that is a consequence of doing the work properly, not the goal.
YESYES is built on a simple conviction: two years of excellent short film production is the most credible possible foundation for a feature film company.
The references, the relationships, the catalogue — all of it qualifies YESYES for the European public funding that makes feature film production at scale financially possible. The Austrian Film Institute. The ORF Film/Fernseh-Abkommen. Creative Europe MEDIA. FISA+.
That is the arc. And YESYESSHORTS is how we earn it — one film at a time, made to the highest standard we can reach, with the filmmakers who have the most to say.
We are a full-service production company. From the moment a screenplay is selected, we take complete responsibility for everything that surrounds the creative act.
This is not a funding program. It is not a grant scheme or a development lab. It is a production partner — one that stays with the work from the first draft to the last festival.
Every submitted screenplay is read. Selection is based on one criterion alone: the quality of the writing and the strength of the story.
A minimum of €50,000 per project. Professional crew. Proper schedules. The filmmaker concentrates entirely on the creative work.
Colour grading, sound design, mixing, and final delivery handled to the highest industry standard. Every film leaves us ready for the world's most demanding screens.
Strategic submission to Cannes, Berlinale, Venice, Sundance, Toronto, and beyond. Active pursuit of distribution and streaming.
Submissions are free. Every script is read. The only criterion is the quality of the writing.
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