The New Zealand Film Commission (NZFC) is actively pursuing an expansion into the Indian market, announcing significant enhancements to its incentive packages and aiming to reinvigorate a largely underutilized co-production treaty. NZFC CEO Annie Murray, speaking ahead of the WAVES Film Bazaar in Goa, detailed key modifications to the International New Zealand Screen Production Rebate set to commence on January 1, 2026. These changes, influenced by feedback from the Producers Guild of India, are designed to establish New Zealand as a more competitive and appealing destination for a wide range of Indian film productions.

Murray emphasized that the new incentives provide a stronger competitive edge. A major modification is the alignment of the minimum spend threshold for feature films, television, and streaming content, now uniformly set at NZ$4 million (approximately $2.2 million). This represents a substantial reduction from the previous NZ$15 million ($8.4 million) minimum for feature films, thereby opening access to the rebate for small to medium-sized independent productions, particularly attracting American and Indian producers. Furthermore, the cap on above-the-line claims for roles such as director, producer, principal cast, and screenwriter has been removed, addressing a previous barrier for some productions.

Additional improvements include a reduced threshold for accessing an extra 5% uplift, now at NZ$20 million ($11.2 million) down from NZ$30 million ($16.8 million). The standalone post-production, digital, and visual effects (PDV) rebate now also qualifies for a five percent uplift, increasing the total PDV rebate to 25% for eligible projects. These changes are part of the commission's third visit to India in 12 months, leading a delegation of 13 New Zealand filmmakers and key executives to present at the WAVES Film Bazaar Knowledge Series, highlighting both co-production and inbound production opportunities.

The New Zealand-India Film Co-Production Treaty, established about 15 years ago, has seen limited application, with only Pan Nalin’s “Beyond the Known World” utilizing it roughly a decade ago. Murray expressed the NZFC’s desire to collaborate with India's diverse cinematic landscape, including Bollywood, Tollywood, and other regional sectors. While recent Telugu-language productions like “Kannappa” and “Game Changer” filmed in New Zealand as inbound productions without the treaty, the enhanced incentives are expected to encourage more projects of similar scale to explore formal co-production structures.

Chris Payne, Deputy CEO and Head of Incentives and Co-Productions, elaborated on the financial mechanisms. Official co-productions require balanced spend, creative contribution, and financing from both New Zealand and India. Qualifying projects can access up to NZ$2.5 million ($1.4 million) in NZFC funding, plus a 40% cash rebate on New Zealand expenditure. For productions not structured as official co-productions, the standard inbound production rebate offers 20% on qualifying spend, increasing to 25% for projects exceeding NZ$20 million ($11.2 million). The standalone PDV rebate requires a minimum spend of NZ$250,000 ($140,315).

Te O Kahurangi Waaka, Chief Advisor Māori Strategy, underscored the critical importance of cultural protocols and relationship-building with Māori communities in New Zealand production processes. She cited the integration of Māori dance and cultural elements in “Kannappa,” facilitated by Rotorua-based producer Piripi Curtis, as a successful example of such collaboration. Philippa Mossman, Head of International Attraction and Marketing, highlighted New Zealand’s robust production infrastructure, including major crew bases in Auckland and Wellington (home to companies associated with Peter Jackson and James Cameron), and smaller significant bases in Christchurch and Queenstown. She praised the New Zealand workforce's dedication to supporting the creative vision of filmmakers, noting that the commission provides specialized services like location galleries, budget analysis, production services coordination, and immigration assistance.

Looking ahead, Murray announced that direct flights between India and New Zealand are anticipated to begin by early 2027, simplifying travel by eliminating current connection requirements through other cities. This engagement in India builds on momentum from New Zealand’s largest-ever trade mission to India earlier in 2025. The current visit coincides with the Asian premiere of Robert Sarkies’ mining disaster drama “Pike River” at the International Film Festival of India (IFFI). Murray also reflected on the lasting impact of the 2000 Hrithik Roshan-starrer “Kaho Naa… Pyaar Hai,” partially filmed in New Zealand, which significantly boosted Indian tourist numbers. Films, she noted, serve as powerful cultural ambassadors, connecting countries in ways similar to sports. Patricia Watson, Executive Director of Women in Film and Television New Zealand, is further developing a co-production summit for 2026, inspired by previous successful initiatives with Canada and Germany, to foster stronger connections between Indian and New Zealand creatives.