SEC Filing Document

Company: Ambitious Entertainment, Inc.
Ticker: 
CIK: 1900851
Filing Type: S-1
Document Type: S-1
Date Filed: 2026-05-15
Accession Number: 0001493152-26-023581
Exchange: 
SIC Code: 7812
SIC Description: Services-Motion Picture & Video Tape Production
URL: https://www.sec.gov/Archives/edgar/data/1900851/000149315226023581/forms-1.htm

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the work, is considered the author for copyright purposes. We intend for all our films to be works made for hire in which we will be the authors and thereby own the copyright to our films. Canada’s copyright law is distinguished from that of the United States by recognizing the moral rights of authors. Moral rights refer to the rights of authors to have their names associated with their work, and the right to not have their work distorted, mutilated, or otherwise modified, or used in association with a product, service, cause, or institution in a way that is prejudicial to their honor or reputation. Moral rights cannot be sold or transferred, but they can be waived. We intend that all individuals who contribute to the creation of any of our motion pictures will be required to waive any such moral rights that they may have in the motion picture.

For
copyright purposes, publication of a motion picture takes place when one or more copies are distributed to the public by sale, rental,
lease, or lending. Publication also refers to an offering made to distribute copies to a group of persons (wholesalers, retailers, broadcasters,
motion picture distributors, and the like), for purposes of further distribution or public performance. A work that is created (fixed
in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation. The work
is ordinarily given a term enduring for the author’s life plus an additional 70 years after the author’s death. For works
made for hire, the duration of copyright will be 95 years from publication or 120 years from creation, whichever is shorter.

Although
we plan to copyright all of our film properties and projects, there is no practical protection from films being copied by others without
payment to us, especially overseas. We may lose an indeterminate amount of revenue due to motion picture piracy. Being a small company
with limited resources, it will be difficult, if not impossible, to pursue remedies. Motion picture piracy is an international
as well as a domestic problem. It is extensive in many parts of the world.

Government
Regulation

The
cost of producing and distributing filmed entertainment has increased substantially in recent years, in part due to the demands of creative
talent as well as industry-wide collective bargaining agreements. Many screenplay writers, performers, directors, and technical personnel
in the entertainment industry are members of guilds or unions that bargain collectively on an industry-wide basis. Actions by these guilds
or unions can result in increased production costs and may occasionally disrupt production operations. If such actions impede our ability
to operate or complete a motion picture, they may substantially harm our ability to earn revenue.

have engaged both union and non-union talent and
crew, depending on the project and jurisdiction of production.

●	Union
Talent. To date, we have utilized unionized actors primarily under agreements with the Screen Actors Guild–American
Federation of Television and Radio Artists (“SAG-AFTRA”) in the United States and the Union of British Columbia Performers
(“UBCP”) in Canada. For example, All My Friends Are Dead was produced with unionized actors under SAG-AFTRA/UBCP
and was also covered under Directors Guild of America (“DGA”) agreements for director services.

●	Union
Crew. Certain projects have engaged unionized crews. For instance, the production Fate was produced under agreements with
the International Alliance of Theatrical Stage Employees (“IATSE”) and the Directors Guild of Canada (“DGC”).

●	Non-Union
Crews. Other productions have been staffed with non-union crews, depending on budget, location, and financing structure. These
arrangements can provide cost flexibility while still maintaining professional production standards.

evaluate union versus non-union engagement on a
project-by-project basis, taking into account budget, location, financing, and distribution requirements. As we transition to
an owner-producer model and scale larger productions, management anticipates increased reliance on unionized talent and crew in
order to meet distributor, streamer, and guild compliance requirements.

are also subject to state and federal workplace laws and disclosure obligations, including those enforced by the U.S. Occupational Safety
and Health Administration and similar state organizations. Our operations will depend on compliance with collective bargaining agreements
and applicable labor laws. Strikes or other work stoppages by members of these unions could delay or disrupt our activities, and the
extent to which future collective bargaining agreements may affect our business is not currently known.

addition, with regard to digital content developed for children, we are subject to a variety of laws and regulations, including
the U.S. Children’s Online Privacy Protection Act and the rules promulgated by the U.S. Federal Trade Commission thereunder (“COPPA”).
COPPA imposes restrictions on what website operators can present to children under the age of 13 and what information can be collected
from them.

Our
business operations are based in the United States, and we intend to establish a physical office in Los Angeles, California, with
an opening targeted after the offering. A preferred office location has been identified, and our management is in the
process of finalizing lease arrangements. Establishing a permanent Los Angeles presence is expected to strengthen our direct accessibility
to major studios, streaming platforms, financiers, and creative talent.

Although
Chief Executive Officer Kirk Shaw maintains his family residence in Vancouver, British Columbia, all of our business operations
are conducted in the United States. The Los Angeles office will serve as our primary corporate headquarters and hub for content
development, production, and distribution activities.

utilize available tax credits and incentives for
each project it produces, whether the production occurs in Canada, the United States, or other jurisdictions. The calculation and structure
of these benefits vary by jurisdiction, as each region has its own rules and programs designed to support film and television production.

key element in maximizing these benefits is the engagement of “above-the-line” talent, including lead actors, directors,
and key creative personnel. By securing recognized talent in lead roles, we often ensure eligibility for higher credit
levels under both Canadian, U.S. state, and foreign tax incentive programs. Our management actively evaluates each production’s
creative team and location to optimize available credits while maintaining production quality.

These
tax credit strategies contribute to cost efficiency, enhance project profitability, and support our ability to finance and produce
content within budget while retaining ownership of intellectual property. For example, in connection with the upcoming feature film Cancel
Me, our management has conducted preliminary research on three potential production locations—Colombia, Kentucky, and
New Jersey—each offering different tax credit structures and incentives. As of April 1, 2026, no final decision has been
made regarding the location of principal photography. We are analyzing tax credit benefits, labor rates, crew availability, and
logistics in order to select the most advantageous jurisdiction.

production location will be chosen prior to the commencement of principal photography, and we intend to apply the applicable tax
credits to reduce net production costs, consistent with its overall owner-producer strategy.

Employees

of April 1, 2026, we had no employees. We utilize consultants in the ordinary course of our business in connection
with the production of digital media projects or motion pictures.

Legal
Proceedings

are not a party to any legal proceedings that could have a material adverse effect on our business, financial condition, or operating
results. Further, to the Company’s knowledge, no such proceedings have been threatened against the Company. However, from time
to time, we may be subject to various legal proceedings and claims that are routine and incidental to our business. Management believes
that the final disposition of such matters will not have a material adverse effect on our business, financial position, results of operations,
or cash flows.

Properties

do not own any real property. However, we lease 150 square feet of office space located at 207 - 744 Hastings Street W, Vancouver,
British Columbia V6C 1A5, on a month-to-month basis for a monthly rate of approximately CAD1,000. We believe that our facilities are
adequate for our current needs and that suitable additional or substitute space would be available if needed.

Corporate
Information

Our
principal executive offices are located at 112 W 6th Avenue, Vancouver, British Columbia V5Y 1K6, Canada. Our telephone number
is (604) 218-3374. The address of our website is www.ambitious.tv. The inclusion of our website address in this prospectus does not include
or incorporate by reference the information on our website into this prospectus.

MANAGEMENT

Executive
Officers and Directors

The
following table sets forth information about our directors and executive officers.

Name Age Position(s)

Kirk Shaw 69 Chief Executive
Officer and Director

Chris Philip 58 Chief Operating Officer

Adam Berk 48 Independent Director
Nominee

Lucy Chua (Chuyun Chen) 42 Independent Director
Nominee

Patricio Rabuffetti 67 Independent Director
Nominee

Owen May 67 Independent Director Nominee

Ben Silverman 55 Independent Director Nominee

Executive
Officers and Directors

Kirk
Shaw