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There is no objective league table for companies backing women-led screen work. The strongest target depends on your project’s authorship, format, geography, budget and stage. The shortlist below is therefore fit-based: it separates companies that develop and produce projects from organizations that provide fiscal sponsorship or curated introductions, and it identifies where submissions are open, restricted or unclear.
Policies and slates change, so confirm a company’s current contact instructions before sending a script. A concise logline, one-page synopsis, creator statement, short biographies, comparable titles, budget range, rights status and a specific reason for the fit will make a first approach substantially more useful.
At a glance: which company fits your project?
| Company | Base and mandate | Formats and stage | Access route | Strongest fit |
|---|---|---|---|---|
| London Girl Productions | UK/Canada; female-founded, focused on emerging female talent and original stories | Narrative fiction and documentary; development and production | Current company contact instructions or a professional introduction; unsolicited status is not stated | Ambitious features, television and documentaries with international appeal |
| El Colony | London; female-owned, international development company operating since 2020 | Fiction, animation and documentary; development | Confirm the current submission policy before sending material | Distinctive voices and internationally oriented projects across forms |
| Cinefemme | United States; fiscal sponsor focused on women filmmakers outside New York | Features, docuseries, pilots, shorts, reality and other projects; fundraising and production support | Application for fiscal sponsorship | Projects that need nonprofit fundraising infrastructure or a support ecosystem |
| Dogmother Films | United Kingdom; female-led independent company | Character-driven features and television; development and production | Use a confirmed professional contact route; open unsolicited status is not stated | Emerging writers and directors with character-led independent work |
| Tangerine Entertainment | United States; emphasis on female filmmakers and strong roles for women | Features and documentaries; commercial and prestige positioning | Verify the current contact and submission policy | Commercially minded or critically ambitious projects centered on substantial women’s roles |
| Farasha Pictures | Los Angeles, Dubai and Hong Kong; cross-cultural, women-focused pathway | Features and other screen projects; development, co-production and financing | Script submissions are welcomed; Farasha Voices competition offers a separate route | Asia, Middle East and diaspora stories about identity, transformation and women’s experiences |
| Girl North Studios | Canada; exclusively women-written and women-directed work | Film and television; development and production | Explicitly does not accept unsolicited materials; seek a warm introduction or confirmed route | Packages with a woman writer-director or clearly women-authored creative team |
The table is a practical targeting tool, not a ranking by deal volume or acceptance rate. No independent market-wide data establishes which company closes the most deals or has the highest acceptance rate.
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London Girl Productions was founded by Francesca Giustra, identified by the company as CEO and producer, with Greg Ash as head of development. The company works across the UK and Canada and says its mission is to champion emerging female talent and original stories. Its 2025 slate includes narrative fiction and documentary productions.
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When to approach
Lead with a project that can travel beyond one domestic market: an ambitious narrative feature, television series or documentary with a clear international audience. Explain why the story benefits from a UK/Canada connection or from the company’s cross-border perspective. A polished package matters because the available information points to a professional-introduction or current-contact approach rather than a clearly open script inbox.
What to include
- A one-sentence logline that identifies the protagonist, goal and central obstacle.
- A one-page synopsis that shows the complete story, including the ending.
- A creator statement explaining the female perspective or authorship that makes the project distinctive.
- A realistic budget range and rights-status summary, especially for documentary subjects or underlying material.
El Colony
El Colony describes itself as a London-based, female-owned production and development company. Since 2020 it has developed international film and television titles across fiction, animation and documentary, following projects across different forms rather than limiting itself to one format.
Best project profile
El Colony is a logical target for a distinctive voice with international potential. A writer with an unusual visual world, an animated feature rooted in a specific culture, or a documentary that can connect audiences across borders can all fit the stated remit. Make the format and intended audience unmistakable in the first paragraph of your approach.
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Submission caution
The company’s current submission policy should be confirmed before you send a script, treatment or deck. Ask a short permission question first: identify the project, state why it aligns with El Colony’s international focus, and ask whether the company is currently considering material in that format. Do not attach a full script to a cold email unless the company directs you to do so.
Cinefemme
Cinefemme occupies a different role from a conventional production company. It describes itself as “The first fiscal sponsor exclusively for women filmmakers outside NY” and says, “From script to screen, we have helped produce 80+ features, shorts, film festivals and projects by women.” Its site provides an application route for fiscal sponsorship and lists features, docuseries, pilots, shorts and reality projects.
What fiscal sponsorship changes
A fiscal sponsor can provide nonprofit administrative and fundraising infrastructure. That may allow an eligible project to receive tax-deductible donations or apply for grants through the sponsor’s structure, subject to the sponsor’s requirements and the laws governing the donor and project. Fiscal sponsorship is not the same as a traditional development deal, a guarantee of production financing or a promise that Cinefemme will creatively produce every submitted project.
How to prepare an application
- Define the project’s form: feature, short, pilot, docuseries, reality project or another eligible category.
- Prepare a clear budget and fundraising target rather than an approximate production cost.
- Document ownership, chain of title and any releases needed for real people, locations, music or archive material.
- Explain the project’s women-led authorship and why fiscal sponsorship is necessary at this stage.
- Use Cinefemme’s fiscal-sponsorship application rather than treating the organization as an unsolicited-script marketplace.
This route is especially useful when the immediate problem is fundraising, grant administration or donor confidence rather than finding a buyer for a finished screenplay.
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Dogmother Films
Dogmother Films calls itself a female-led, independent film and television production company based in the United Kingdom. Its stated focus is character-driven work in development and production. The company lists projects including Beehive, Everybody Gets One, Dead Dad(s) and Tinola, and says Yasmin Rais is developing a slate of feature films and television shows.
Best project profile
Approach Dogmother with an emotionally specific independent feature or television project in which character choices drive the plot. Emerging writers and directors can make a stronger case by showing how the project can be produced at an independent scale: identify the essential locations, cast requirements, period elements and any production elements that materially affect the budget.
How to demonstrate fit
Reference the company’s character-led independent focus without implying that it has committed to your project. Include a short paragraph on the audience, comparable tone and practical production plan. Because an open unsolicited-submission policy is not established, ask for the preferred route before sharing a full draft.
Tangerine Entertainment
Tangerine Entertainment says it focuses on commercially viable, critically acclaimed stories with an emphasis on female filmmakers and strong roles for women. Its leadership and credits indicate experience in feature and documentary work.
Positioning your project
Tangerine is a useful target when your project combines a substantial women-centered role with a clear commercial or prestige proposition. State the audience and release logic: for example, a contained feature with a recognizable genre hook, a prestige drama built around a major performance, or a documentary with a defined cultural conversation. Avoid presenting a women-led story as valuable only because of its theme; show the engine that will attract viewers.
Questions to ask first
- Is the company currently considering unsolicited scripts or only material from agents, managers and trusted producers?
- Is it seeking features, documentaries, or both in the current development cycle?
- Does it want a completed screenplay, a treatment, or a package with talent attached?
Verify the answers through the company’s current contact information because the available description does not establish a permanent submission policy.
Farasha Pictures
Farasha Pictures operates across Los Angeles, Dubai and Hong Kong and presents a cross-cultural pathway for women writers. Its Farasha Voices global story competition is aimed at female writers from Asia, the Middle East and the diaspora; the company describes winners as entering a development pathway. The site also explicitly welcomes script submissions for projects addressing identity, transformation and the female experience across cultures and borders, and invites co-production and financing partners. Farasha Voices is described as launching in Winter 2026–27.
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Why this route stands out
Among the companies listed here, Farasha provides the clearest stated invitation for script submissions. It is particularly relevant when the story crosses countries, languages, communities or diaspora identities. Explain the cultural context without assuming that an international setting alone makes a project cross-cultural. Identify whose perspective controls the story, what access or lived knowledge the creative team brings, and how the project can connect with audiences in more than one territory.
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- Write a logline that makes the emotional transformation legible to a reader unfamiliar with the setting.
- Add a synopsis that identifies the cultural and geographic stakes, not just the plot turns.
- Include a creator statement addressing authorship, language, community relationships and any sensitive material.
- State whether you seek development, co-production, financing, or a combination.
- Describe rights status and any partners already attached.
If you are eligible for Farasha Voices, review the current competition window and rules separately from the general script-submission route.
Girl North Studios
Girl North Studios says it is “a female-led film & television production company dedicated exclusively to developing and producing work written and directed by women.” It is based in Canada, says every project is developed with female producers attached, and explicitly states: “Please note that we do not accept unsolicited materials.”
Who should seek an introduction
The strongest fit is a project written and directed by a woman, or a package with unmistakably women-authored creative leadership. A warm introduction from a producer, agent, manager, festival programmer, commissioner or trusted industry contact is more appropriate than a blind script email. If you do not have an introduction, ask the company’s contact point whether there is an approved way to request one; do not bypass the no-unsolicited policy.
What a warm approach should say
Keep the initial note short. Identify the person making the introduction, name the project and creative leads, and explain in one paragraph why the project belongs within an exclusively women-written and women-directed mandate. Send the script only after the company confirms that it wants to read it.
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The Women’s List
The Women’s List is a curated discovery route for production-ready film and television scripts written by women. It matches scripts with companies that request reads; its news page has named Higher Ground and Level Forward among companies that have requested scripts. Treat it as a windowed, curated opportunity rather than a permanent open-submission portal, and check the next submission period before preparing materials.
Women in Film’s Production Program
Women in Film’s Production Program profiles producers working on female-led narrative projects. One profile identifies Maya Butler and Lonely Child Productions as focusing on female-led narrative work and elevating the female voice. This is primarily a networking and producer-discovery resource, not a conventional company inbox for unsolicited screenplays. Use profiles to identify producers whose current interests match your project, then request an introduction or informational conversation.
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How to choose targets before you pitch
Score each possible target against six practical questions. A company that matches five of six is usually a better first approach than a famous company that matches only the gender theme.
- Mandate: Is the project women-written, women-directed, female-led on screen, or simply centered on women’s experiences? Use the exact category that applies.
- Format: Does the company work in your form—feature, episodic television, documentary, animation, short or reality?
- Stage: Do you need development, active production, fiscal sponsorship, fundraising or script discovery?
- Geography: Can the company produce in your territory, and does your story require a co-production partner?
- Access: Is there an application, an explicit script invitation, a curated introduction requirement or a no-unsolicited rule?
- Scale and market: Does your budget, cast ambition and commercial positioning resemble the company’s stated work?
Write the result as a one-line reason for each target. That sentence becomes the core of your personalized opening and prevents a mass email that ignores the company’s remit.
Build a submission package that can be read quickly
Core materials
- Logline: One or two sentences naming the protagonist, objective, opposing force and distinctive hook.
- Synopsis: One page, complete and spoiler-inclusive, with the ending visible to the producer.
- Creator statement: Why you are the right person to tell this story and what women-led authorship contributes.
- Biographies: Short, relevant credits for the writer, director, producer and any attached talent.
- Comparable titles: Two or three references that explain tone, audience or scale; do not claim the project is identical to them.
- Budget range: A defensible range with the biggest cost drivers identified.
- Rights status: Ownership of the screenplay and underlying rights, plus options, releases or adaptation permissions already secured.
Optional materials by format
- Television: Series premise, season arc, pilot and a brief episode map.
- Documentary: Access plan, subjects, sample footage status, permissions and editorial approach.
- Animation: Visual references, production method, target audience and proof that the budget assumptions are realistic.
- Reality: Format engine, repeatable episode structure, casting or access plan and duty-of-care considerations.
Contact etiquette and common failure points
Sending a full script without permission
A full draft can be ignored or returned unread when a company does not accept unsolicited material. Ask first unless the company explicitly invites scripts or provides an application.
Using a generic women-in-film pitch
Gender alignment alone is not a fit statement. Connect your project to the company’s actual mandate, format and geography, and explain the practical reason it belongs there.
Ignoring rights and access
Producers need to know whether you control the material. For documentaries and adaptations, disclose access, permissions and outstanding rights issues at the outset.
Overstating company commitments
A company’s stated mission or a listed project is not evidence that it has agreed to read, finance or produce your work. Describe the fit accurately and avoid implying an endorsement.
Failing to follow up appropriately
Use one concise follow-up after a reasonable interval, then stop unless invited to continue. If the company says submissions are closed, wait for a published opening or pursue another fit rather than repeatedly sending the same package.
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A practical outreach sequence
- Shortlist three to five targets: Include a primary fit, a geographic or format alternative, and one discovery route.
- Check the current policy: Confirm whether the target accepts unsolicited material, applications or introductions.
- Tailor the opening: Name the company’s mandate and give one concrete reason your project matches it.
- Ask for the correct next step: Offer the logline and synopsis first, then provide the script or deck in the requested format.
- Track rights and responses: Record the date, recipient, materials sent, response window and any exclusivity requested.
- Protect your work: Keep dated drafts and written records of submissions. Do not grant broad rights or exclusivity without understanding the terms.
What these companies can—and cannot—be expected to provide
A production company may develop a script, attach talent, package financing, produce the work or take it to buyers; none of those outcomes is automatic from a query. Cinefemme’s fiscal-sponsorship route addresses nonprofit fundraising and administration, while Farasha’s invitation also encompasses co-production and financing conversations. The other companies are primarily development and production targets, and their current access policies must be confirmed individually.
The most effective strategy is to match the project’s immediate need to the organization’s function: use fiscal sponsorship when fundraising infrastructure is the barrier, a curated list or producer profile when access is the barrier, and a production company when the creative and commercial package is ready for development.
Frequently Asked Questions
Do these companies accept unsolicited scripts?
Policies differ. Farasha Pictures explicitly welcomes script submissions, Cinefemme provides an application for fiscal sponsorship, and Girl North Studios explicitly says it does not accept unsolicited materials. The other companies listed do not establish a permanent open-submission policy in the available information, so ask before attaching a full script.
Can a project qualify if only the lead character is a woman?
Possibly, but a female protagonist is not the same as women-authored production. Companies with mandates centered on women writers and directors will usually expect the creative leadership to match that requirement. State who wrote, directed and produced the project, then target companies whose mandate covers the project’s actual configuration.
What is the difference between Cinefemme and a production company?
Cinefemme’s stated role is fiscal sponsorship and support for women filmmakers, with an application route and experience across many project types. Fiscal sponsorship can help with fundraising and administration; it is not automatically a conventional development, financing or distribution deal.
Should I pitch several companies at once?
You can make non-exclusive inquiries to several well-matched targets, but follow each company’s rules and disclose any exclusivity or option already granted. Keep a submission log, tailor every opening and never send a full script where the company has said it does not accept unsolicited material.
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