An international scriptwriting competition organised by the Screen Arts Centre has attracted more than 1,100 submissions from writers across the globe, underscoring continued global appetite for long-form storytelling despite rapid technological and cultural change.

The competition was delivered through the Screen Arts Centre, a partnership between the Institute of Tourism Studies and the Mediterranean Screen Arts Academy. Entries were received from a wide range of countries, reflecting diverse cultural perspectives, creative voices and narrative approaches.

According to ITS, the volume and breadth of submissions highlight the enduring relevance of screenplay writing at a time when digital platforms, short-form content and artificial intelligence are reshaping how stories are produced and consumed. The submitted scripts spanned multiple genres and formats, engaging with both contemporary global issues and deeply personal themes.

Commenting on the response, ITS chief executive Pierre Fenech said the scale of international participation demonstrated the initiative’s reach and relevance. He noted that collaborations such as the Screen Arts Centre reflect a growing alignment between education, creativity and the evolving demands of the cultural and experience-driven economy.

The competition was judged by an international panel of senior film and television professionals, bringing industry-level scrutiny to the assessment process. The jury included Roland Joffé, the Palme d’Or-winning director behind The Killing Fields and The Mission, alongside Trevor Walton, a veteran television executive with experience across major international broadcasters including CBS, FOX, Lifetime and CBC.

Joffé described the initiative as an exciting project that reinforced the central role of the screenplay in filmmaking. “This has been a very exciting project. Every individual, if asked, has a story to tell. The screenplay is the first point on a journey, and the journey is to make the film.”

Walton commented on the quality and scope of the submissions, noting that the competition challenged assumptions about the decline of sustained writing:

“At a time when we are constantly told that one of the casualties of our digital age is long-form writing, that’s not what we discovered through this competition. Writers around the world are still producing work with flair, originality, and serious sustained effort.”

He added that while some scripts explored anxieties about dystopian futures, many focused on stories of hope, resolution, and human connection. Humour, in particular, emerged as a recurring and unifying element across cultures. Walton also highlighted the importance of collaboration between the partner institutions: “We are so grateful and appreciative of the partnership we have enjoyed with Pierre and his team at ITS during this year-long experiment, and for the academy in general.”

Organisers said the strong international response reflects not only the credibility of the jury and institutions involved, but also Malta’s growing profile as a hub for screen arts education and creative development. The Screen Arts Centre aims to position itself as a platform that connects emerging writers with professional standards, industry insight and international networks.

As demand for original storytelling continues to evolve across film, television and streaming platforms, initiatives like this competition signal sustained interest in structured, long-form narrative — and the global talent pool ready to deliver it.