Pitch Deck & Treatment Design

Here is how this works in practice. Pitch decks for Hungarian-anchored productions live or die on two axes. How cleanly they qualify against the NFI (Nemzeti Filmintézet) 30% Hungarian tax rebate framework. Plus how legibly they translate between the Hungarian, English and continental-European financing audiences who actually fund the work. We build decks bilingual EN/HU as standard.

Here is the short of it. The Hungarian-language pass is what NFI committees, Magyar Filmszövetség and Hungarian co-producers read first, the English pass is what gets shown at Cannes Marche du Film, the Berlinale European Film Market (EFM), the Sundance Industry Office and the IDFA forum. Our framing of qualifying spend, Hungarian crew percentages, Korda Studios Etyek or Origo Studios Budapest stage anchoring. Plus post-prod routing through Magyar Filmlaboratórium or the major Budapest VFX houses is structured to map directly onto the NFI application math, so the same deck that opens a co-producer conversation in Berlin also serves as the spine of the rebate filing.

Here is the breakdown. Co-production treaty framing matters as much as the rebate. Hungary has working bilateral structures with France (HU-FR), Germany (HU-DE), Austria (HU-AT), the UK and Canada through the European Convention on Cinematographic Co-production. Plus our decks lay out the qualifying-points math (nationality of director, lead cast, DP, composer, post house) that triggers each treaty's recognition.

Here is what that looks like on the ground. The Filmtett industry circuit, the Friss Hús Budapest Global Short Film Festival, the Hungarian Film Week (Magyar Filmhét) and the Verzió documentary forum all surface in our deck design when the financing path runs through Hungarian-language audience-building. For art-house projects positioning against the Béla Tarr, István Szabó, László Nemes and Ildikó Enyedi auteur lineage. Mephisto Oscar, Son of Saul Oscar, On Body and Soul Berlin Golden Bear, Sátántangó canonical status. We frame heritage and visual reference directly so Cannes and Berlin committees see the lineage on slide one rather than slide twenty.