Preview October 2021 www.mipcom.com
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Editorial ‘Welcome back to MIPCOM, welcome back to Cannes!’ It is so exciting to be with you for the first, major, in- person market since the beginning of the pandemic. MIPCOM will be different this year, given the challenges we have all faced, but we aim to deliver the unique mix of insights, inspiration, connection and content that make MIPCOM what it is. We want to thank everyone who have made this much-needed market happen in such exceptional circumstances — we couldn’t have done it without your support! And a special thanks to all those who have made sure this year has a first-class line-up of speakers, special events, awards, content showcases, market screenings and world premieres — all the elements, along with a sprinkling of serendipity and sunshine, that make MIPCOM so special. A priority this October is to bring the global television community back together for a long-awaited opportunity to reconnect: a chance to gauge where the industry is going and to explore global themes and trends. Our industry has changed dramatically since we were last in Cannes, with an explosion of viewing on streaming platforms. That is reflected in a growing focus on content creation and development. You can read more about the full programme inside. We’re delighted to welcome CANNESERIES to MIPCOM this year. Don’t miss the world premiere screenings of Around The World In 80 Days, and star David Tennant on Cannes’ famous pink carpet. Once again we’re putting social impact at the heart of industry conversations with keynotes from C4’s Alex Mahon, WeMake’s Bouchra Rejani and Hugh Evans, co-founder of Global Citizen. We are also proud to be hosting the 10th annual Women In Global Entertainment Lunch with A+E Networks and the fifth annual Diversify TV Excellence Awards, dedicated to championing and promoting diversity and inclusion in all its forms. Digital MIPCOM, a new platform for 2021, will allow the MIPCOM community to connect, in Cannes or remotely. You can promote your presence, make connections, discover and showcase content and generate leads with thousands of distributors, buyers and creators from around the world. MIPCOM’s digital extension, with its new content directory and screenings platform, is now open and available through November. We wish you a successful MIPCOM. And above all, we hope you enjoy your return to Cannes as much as we enjoy welcoming you back.
Lucy Smith MIPCOM Director
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• October 2021
CANNESERIES; MIPCOM Keynotes; The MIPCOM Diversify TV Excellence Awards; women’s mentoring; Conversations With Streamers; MIPWorkouts; Content Trends; Market Screenings, and more...
44 Around The World In 80 Days World Premiere Screening at CANNESERIES in association with MIPCOM
STAR TREK: PRODIGY THE PARAMOUNT+ original animated screening Star Trek: Prodigy has its International Premiere Screening at MIPCOM on Tuesday, October 12. The CG-animated series is the first Star Trek story to be aimed at younger audiences. It follows a group of young aliens who must figure out how to work together while navigating galaxies in search of a better future. • TUESDAY 12 OCTOBER – 15.15-16.15 – Grand Auditorium STAR TREK: PRODIGY INTERNATIONAL PREMIERE SCREENING
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WOMEN IN LEADERSHIP
‘Women are assumed to be incompetent until they prove themselves to be competent’ Alex Mahon, CEO of UK public service broadcaster C4, is in conversation with Bouchra Rejani founder of WeMake, France, as part of the MIPCOM Women In Leadership Keynote Super Session. She spoke to Julian Newby ahead of the session Walking around Cannes during the TV events one gets the feeling that television does equality at the highest level better than other industries. We seem to meet many women at the top of the business during the course of a typical MIPTV or MIPCOM. Is this perception correct? Well I do think we do comparatively better in our industry. If we compare the financial industry for example, then analysis from earlier this year shows that there are more investment funds run by men called Dave than there are female managers in the industry (Morningstar, March 2021). This is all despite multiple studies over decades showing that diverse teams make better commercial decisions and improve shareholder returns. However I still think our industry has a long way to go. There are many female CEOs in production, but not in broadcasting and certainly still very few female chairs or FTSE board members. At the most senior level we are still horrendously under-represented. Diversity is an immense focus for us at Channel 4 and we have managed to get the company to 56% female and are focused on getting the top 100 to fully balanced — and I have almost made it as this month 47% of the top 100 are
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WOMEN IN LEADERSHIP
women. But in our industry there are many places where it is so hard for women — the freelance community, directors, combining roles on locations with having families. We have plenty of work still to do. Elsewhere in this publication we read of a ‘double glass ceiling’ that had to be negotiated because the person speaking about this is a woman and of north-African heritage. Does her own personal success mean that things are improving with regard to glass ceilings? Things are definitely improving and any advancement of the under-represented is heartening and to be welcomed. However, the statistics speak for themselves and in every study it is overwhelmingly clear that many groups in society are under-represented in leadership positions. Until we get to representation across all layers of companies — management and boards — then we will continue to have groups who lack equitable power. Moreover, without wide representation in leadership, the types of decisions on promo-
There are more investment funds run by men called Dave then there are female managers in the industry
tions that are made will not be balanced and junior people will not have the role models in place to give them the confidence that it is worth keeping going. I think the woman you spoke to is right though — she had two ‘hurdles’ to navigate and that can make it exhausting and draining to the point that many feel that the ends might not justify the effort. Do women do leadership differently from men? If so how and why? Can you generalise in response to such a question? For example, one might observe that Jacinta Ardern, Kamala Harris and Angela Merkel sound refreshingly different from the average male in positions similar to theirs… The reality is that men and women in general, in the aggregate, do lead differently. If you read academic studies on the subject, this is not necessarily due to gender. It is certainly in part due to how the systems have taught us. Male leaders have been in the dominant group for centuries with female ones in the non-dominant group, in the minority. The system, the ways of operating, the behaviours that are valued and prized, have been designed by men, for men. Not due to prejudice, simply due to their preponderance. So because women leaders have had to learn a system on which they were the non-dominant group, they have had to learn the ways around it and how to optimise for winning in a system that wasn’t designed by them. Research from the Council of Women World Leaders shows that this means we collaborate differently, we have smaller networks (because we have tended to bear other domes-
tic responsibilities) and we work harder to find creative solutions to problems. In addition, and most interestingly to me, women tend to be better prepared. The reason is because of their rarity, women leaders tend to have a lot of attention on them. So they over prepare. And the reason they do that is the way they are treated if they mess up… Men are assumed to be competent until they show themselves to be incompetent. Women are assumed to be incompetent until they prove themselves to be competent. CTM founder and CEO Nadidah Coveney, one of the members of the Forbes Coaches Council, has said that one of the biggest challenges her female clients face is garnering support from other women. Is this something you have come across and how is that resolved? There are also those women out there who are the ‘helicopter women’ who pull the ladder up when they are at the high level. However I think they are dying out. As Madeleine Albright said: “There is a special place in hell reserved for women who don’t help other women” and that’s the mantra I like us to focus on. I am part of a number of women’s networks which are about providing support and knowledge to others and sharing information in a place where honesty and fear is allowed. Some of our team have just started one at Channel 4 for men, so that has given me a clear example of how many of us need support and shared knowledge. Do you remember any moments in your career when being a
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There is a special place in hell reserved for women who don’t help other women
woman helped or hindered you? Or have you steered a neutral path where gender has not been an issue for you personally? Well, when I was a physicist, I was very much in the minority. Less than 10% of us were women and I have been fortunate that every subsequent environment has been more balanced than that. In all the jobs I have had since then, women have been under-represented at that level. Sometimes it has been useful to stand out by being a different gender, sometimes it has meant I have had to work much harder to be heard. Making the choice to have four children has also meant I had to put a lot of work in not to be dismissed by those who might retain antiquated prejudice about combining work and motherhood. Now I think there is a real onus on me to use my power as a CEO to stamp out that kind of behaviour and prejudice wherever I encounter it. • The MIPCOM Women In Leadership Keynote Super Session. In the Grand Auditorium Louis Lumiere, Monday, October 11, 12.00-12.30. Available on catch-up at Digital MIPCOM until November 30
WOMEN IN LEADERSHIP
‘We are not born women, we become women’ Bouchra Rejani, founder and CEO of WeMake, France, joins Channel 4’s Alex Mahon for the MIPCOM Women In Leadership Keynote Super Session. Speaking to Julian Newby she reflected on some of the issues that might be raised during the discussion It’s widely accepted that there is still an imbalance between the number of men and the number of women in business leadership. What are your observations of this? The access to executive positions is globally on average still twice harder for women than for men. The figures speak for themselves: according to recent studies,
under 5% of of Europe’s top companies have a female CEO and just one in four leadership positions are held by women. The share of women in senior business executive functions has slowly grown, but women today are still paid some 20% less than men, for doing the same job. If there is no justice for women, there will be no justice
anywhere. The modernity of a country is measured by the way women are considered. What are your views on how this situation can be changed? Leadership has not to be gendered. We have to deconstruct stereotypes that influence our behaviour in all of our corporate organisations and in society as a whole.
It is not because we are women that we are necessarily emotional and have to stick to a mothering attitude towards the talented people we work with in order to be appreciated and be listened to. And on the other hand, because you are a man does not mean you will be bossy and have necessarily the right vision. I usually quote Simone de Beauvoir when she said ‘On ne nait pas femme, on le devient – We are not born women, we become women’. And the same goes for a leader. Education is key but it’s not everything. In most countries about 60% of all university graduates are women, and still women represent less than 20% of board members. So, we have to better work out how to overcome our fears, and get rid of the imposter syndrome which is a very feminine characteristic, I think. We also have to promote our soft skills better, to shape new ways of collaborating with men in order to reach gender equality. Men are our best allies. To teach gender equality to our sons seems like a simple solution, but in itself it is quite revolutionary. In many countries various regulatory measures have been adopted, mostly involving quotas. And although I am not really in favour of quotas, I like what they achieve. Do women have a different approach to men in leadership positions? Quite a lot of research has found that there are clear advantages to having women in leadership positions, and I do agree. Soft skills such as determination, attention to detail and measured thinking are undeniably key for all types of organisation. Today, and particularly in a post-pandemic society, employees want more — and constant — feedback and a better work-life balance. These objectives are most likely going to be met by a female manager and may not come as naturally to a male leader.
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WOMEN IN LEADERSHIP If you were mentoring a group of young women with goals towards leadership positions, what would one strong piece of advice be? This is what I do already in the NGO’s I am part of — Pour les
There is nothing really vital at stake at work — except for those who save lives every day, of course’
Femmes dans les Medias/PDFM and MediaClub’elles — mentoring wonderful promising women. And I have not one, but three pieces of advice. One: don’t look indefinitely for legitimacy, just take it for granted. Two: just be yourself, with your own strengths and weaknesses. We have nothing to hide and it is just a waste of time to try to be someone else. And three: overcome your deep fears. There is nothing really vital at stake at work — except for those who save lives every day, of course. Was your path to leadership a difficult one? I struggled in my first job at KMPG. I have a background in literature but finally decided to go to business school so I could get a job quickly — because I couldn’t
afford to remain unemployed. I started as finance auditor for KPMG — far from my passion, which was film and TV. I was working in a 100% male environment in work relating to the oil, steel and car industries. I was working hard, seven days a week and doing very long hours to meet deadlines. I was looking for legitimacy and was way too much of a perfectionist — I had high expectations of myself and suffered from impostor syndrome. I burned out after three years and decided to move on and stick to my old dream and become a producer. Life is too short, indeed. So I learned how to work with people I like, for things I love to do. There is no other way to be accomplished and be happy. I really started my career in the
media industry in London, where gender diversity and racial diversity was not an issue — with people who really trusted me, and where there was room for people like me. I came back to France with the strong belief that there was room for me there too — even in a sector where there were very few sons of immigrants. And after my London experience, I started not caring about racist remarks. I love this sentence from Sartre: ‘L’enfer c’est les autres’ — Hell is other people. And I made it mine. And I also gave myself the right to pick and choose people I wanted to work with and follow my instincts. Freedom is everything and there is no price for my freedom. Trust and freedom. This is what empowered me and what empowers every one of us.
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MIPCOM Diversify TV Excellence Awards
“I’m glad to be doing this, this is important” The MIPCOM Diversify TV Excellence Awards event returns to Cannes after a virtual presentation last year. For this, its fifth edition, the ceremony is hosted by French TV and movie personality Salif Cisse. He spoke to the MIPCOM Preview ahead of the event FRENCH actor and screenwriter of Senegalese descent, Salif Cisse, is host of the fifth MIPCOM Diversify TV Excellence Awards. He is the star of the upcoming Netflix series Endless Night which is released early next year. Best-known for the 2020 film All Hands On Deck (A L’Abordage), a 2020 TV movie, and the 1997 mini-series Multiprise, Cisse also had a role in Black Sheep Films’ Mental, a TV series about a group of young people who shake things up at a youth psychiatric hospital. Mental was shortlisted in the Disability category at last year’s MIPCOM Diversify TV Excellence Awards. “I’m glad to be doing this, this is important,” Cisse said of his role as host on the occasion of the Awards’ fifth edition. “But to be honest, I hope that in the future we will no longer need to give awards for good representation of minorities on TV. To me, it is just as important as doing a good show,” he said. “For a long time a lot of minorities felt like they were ‘invisibilised’ in so much content. “Not showing or not naming certain groups of people is like denying their existence. It should be natural to have various type of people in these shows.” There are some 20 high-level professionals from around the world participating in the Awards and
mentoring sessions as part of MIPCOM’s diversity drive this year, and all have spoken about the importance of diversity and inclusion both behind and in front of the camera. In this context, Cisse said some things are improving: “On camera, things are a little bit better than before,” he said. “Behind the camera, it’s still not enough. It is partly because there’s a lack
of access to off-camera training for under-represented communities.” He added: “Also, people feel less obligated [to insist on diversity behind the scenes] because it doesn’t show on camera. “This is the situation we’re in right now. It should not be something to brag about, or to show the world: ‘Hey diversity is good over here!’ It should be natural. It should not be done out of pity, or political cor-
MIPCOM PREVIEW • 22 • October 2021
There’s a lack of access to offcamera training for underrepresented communities rectness. It should be done because a large group of people that are talented are not represented enough in our line of work. And something is off about that.”
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MIPCOM Diversify TV Excellence Awards
Awards bring a ‘greater awareness of diversity’ THIS YEAR marks the fifth edition of the MIPCOM Diversify TV Excellence Awards. A highlight of MIPCOM Week, the Awards event is dedicated to championing and promoting diversity and inclusion in all its forms across the international television industry. Supported by founding partner A+E Networks, the United Nations SDG Media Compact, Diversify TV, Trace Global, The Canada Media Fund, Telefilm Canada and All3Media, and featuring the Variety Creative Change Award, the eight Awards categories acknowledge the representation of Race and Ethnicity, LGBTQIA+ and Disability in scripted and non-scripted programming, for all ages. Diversify TV started at MIPTV back in 2015 as the brainchild of Scorpion TV’s David Cornwall, Reed MIDEM’s Liliane Da Cruz, All3Media’s Nick Smith and Little Black Book Company’s Bunmi Akintonwa. “The first event was very informal," David Cornwall said. “It was a humble beginning but for the 20 or so guests who turned up, many new connections and friendships were born. At each successive MIP our ambitions grew and word spread and we were able to secure some high-profile guests to speak at our events. It culminated at MIPCOM 2017 — with the support of Reed MIDEM and several charities — with the launch of
the first Diversify TV Excellence Awards. In a short time, the Awards have come to be seen as the gold standard for recognising brilliant diverse programming,” Cornwall added. “This year we have received a record 162 entries from 20 countries and 96 companies. We've seen some positive results where the exposure and prestige of winning an award has helped a show or format to travel, which is what we all hope for.” Nanette Braun, head of communications campaigns at the UN Department of Global Communications, said the Awards "are an impactful example of action in support of the Sustainable Development Goals [SDGs]. Through these Awards, Reed MIDEM and MIP, both SDG Compact members, are bringing to life their commitment to the achievement of the goals." Braun added: "This important initiative builds on the principal of 'leaving no one behind', the driving ambition that lies at the heart of the SDGs and without which none of these goals can be fully achieved. The international television industry has a crucial role to play, not only in raising awareness of diversity and inclusion issues, but also in setting the standards for ensuring equal representation, opportunity and a voice for all, both through content and in how they conduct their business." All3Media is sponsoring the Dis-
ability catagory in the Awards, particularly in support of producer and writer Jack Thorne "in his efforts for inclusivity in the area of production", All3Media executive vice-president press and brands, Rachel Glaister said. In his recent acclaimed MacTaggart leLecture he told a virtual audience: "Disabled stories need to be told and when they are told they need to be told with disabled people." Trace Global's vice-president, content distribution, Betty Sulty-Johnson said: "Trace has always supported Afro-urban music. With the creation of Trace Studios, specialised in producing and distributing content, it was common sense to partner with the Awards." She added: "Our core vision is to put into light a new generation of diverse filmmakers to focus on inclusive storytelling. We have huge respect for the Diversify TV Excellence Awards which bring opportunities and visibility, and empowers everyone." Productions that have garnered positive exposure from the Awards include: 2017 winner, Belgian drama Team Chocolat, being re-versioned for both Italian- and English-speaking audiences; and First Day, which was originally commissioned as a standalone episode to celebrate the 2017 International Day of the Girl, which won in 2018, and was then commissioned as a four-ep-
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Awards co-founder: Bunmi Akintonwa
Juror: Amazon’s Sahar Baghery
Juror: industry consultant Patrick Connolly
Awards co-founder: Scorpion TV’s David Cornwall
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MIPCOM Diversify TV Excellence Awards isode series. The series was subsequently acquired by Hulu (US), the BBC (UK), YLE (Finland), NRK (Norway), SVT (Sweden) and Momo Kids (Taiwan). For juror Bunmi Akintonwa — founder member of Diversify TV, co-founder of the DiversifyTV Excellence Awards and CEO of the UK-based Little Black Book Company — there have been noticeable changes since the Awards launched five years ago. “The biggest change is that there's a greater awareness of the need for diversity — not just because it seems to be a good thing to do from a moral point of view, but also because it makes commercial sense.” And this means that the concept of diversity in content is reaching further around the world. “Before, you could only see initiatives in certain territories — mostly the English-speaking countries," she said. "But now there seems to be more awareness across the world." Streaming has played a key role, Akintonwa added. “The streamers are looking at the industry as a collection of global niches. They’re looking at diaspora —
for example, looking at Africans right across the world and that’s a lot more people, it’s a big difference,” she said. “And all the local broadcasters are now trying to stream and grow their audiences and so they have to think bigger and wider.” Comparing this to the appointment television of the past, she said: “The pattern was so repetitive — the same faces, the same plots, a complete lack of diversity in every sense of the word. Very few women, very few minorities — and no disabled people at all. It’s changed a lot in that way.” Juror Bruna Capozzoli began working with the Awards some three years ago. A producer, director and content creator with London-based On The Edge Conservation, which produces content promoting respect for the natural world, Capozzoli says she has further qualifications that she has brought to the Awards and other MIPCOM diversity initiatives. “I am originally from Brazil, which has a diverse culture, and I identified as a lesbian from the age of 13 — and that was something I was never scared of, or afraid to discuss. So I find
it’s helpful for me to add that to the conversation whenever I am talking to people about issues of diversity and inclusion.” Significant for Capozzoli at the time and age at which she came out, was the fact that there was no such thing as Google. “Figuring out that you are gay before Google as opposed to after Google, they are very different things,” she said. “Back then, asking the question ‘I am gay, what should I do?’ was very difficult, and very isolating. I remember searching encyclopedias trying to understand what I was and feeling very scared. There was very little representation, especially on the female side.” She added: “I started looking through magazines and it was always men writing about it, never women. So I kind of thought that I didn’t have any option but to put myself out there and I started doing theatre, where who you are becomes a part of your work. My personal experience had a big impact on the work I produced.” Diversify TV Excellence Awards juror Deborah Williams, executive director at the UK’s Creative Diversity Network — which pro-
Juror and mentor: Sixth Sense Media’s Sallyann Keizer
Juror: VCNI’s Wincie Knight
Juror and mentor: David Levine
Juror: All3Media’s Nick Smith
Juror: writer and director Tshepo Moche
Juror: actor, presenter and campaigner Adam Pearson
MIPCOM PREVIEW • 26 • October 2021
Juror: YouTube’s Cedric Petitpas
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MIPCOM Diversify TV Excellence Awards motes diversity in television — also brings personal experience to the table. A disabled writer, performer, producer and director, Williams had performed at a (UK) Arts Council festival for a couple of years and was preparing a more ambitious show for her third year when she received an email from the organisers: “It said that they had changed their diversity criteria and I no longer fitted those criteria. Now, I am a black disabled woman. There isn't much diversity criteria that you can build that I don’t fit into!” Williams spent two years “living with depression and loneliness — and then an opportunity came up for me at the Arts Council to go into the theatre team, and I thought, ‘Right, I've got to find out what they mean and why these changes happened’. And once I got in there, well within seconds you find out it's all rubbish. So, that is the moment when I decided that the way you define diversity has to change and has to be relevant to the people. And so that's what I started doing — 10 years ago almost to the day.” “For me it’s a pity that we need to highlight diversity, but it is needed and we are seeing some pretty good progress, in terms of content and in terms of peo-
ple,” juror Mounia Aram, CEO of the Mounia Aram Company (MAC), said. “Diversity doesn’t only mean racial; it also reflects disability and sexual orientation and it’s great that so many people don’t have to hide anymore.” One of MAC’s goals is to build a bridge between African content and the international market by becoming the voice of the African producers through co-production and distribution, its output focusing primarily on animation and factual programming. Of Moroccan heritage and based in Paris, Aram said that while the industry is seeing constant improvement in terms of diversity in content, there is still much work to be done in terms of the people who work in production. “I’ve been talking to people like Disney and Nickelodeon and they are really strong in terms of hiring, as much as possible, people from diverse backgrounds. And for myself, when I think about the content that I am promoting, it doesn’t make much sense for me to have content speaking about Africa with no African talent behind the camera. We need to find the talent and sometimes its challenging.” Aram said there is still a lot of progress to be made on the con-
tinent of Africa. “They don’t have the same tools as a lot of the rest of the world and it’s a pity and we still have a lot of progress to make there,” she said. “When we speak about Africa — especially with animation — we immediately think about South Africa. But Africa is wider than South Africa; there are so many countries, millions of people and so many people who are passionate about content. But a lot of them are not trained and when you want to hire people who can speak about their own story, sometimes it’s hard if they haven’t got the education or the training.” In the future, Aram said, “I would love to be talking about a Kenyan animation industry or a Nigerian animation industry. In Europe we don’t speak about European animation, we speak about French animation or Spanish or British animation. But with Africa, it’s African animation. I’d like that to change.” • The MIPCOM Diversify TV Excellence Awards. The Grand Auditorium Louis Lumiere, Wednesday, October 13, 16.0017.00. Live streaming on Digital MIPCOM, and available on catch-up until November 30
Juror: WeMake’s Bouchra Rejani
Juror and mentor: BBC’s Andre Renaud
Juror: actor and disability activist Samantha Renke
DIVERSIFY TV EXCELLENCE AWARDS SUPPORTING CHARITIES • Fondation Mozaik – Recognising Talent In All • GADIM – Media & Disability • Glaad – LGBTQ+ Monitoring
• Mencap – Supporting Learning Disability
• Minority Rights Group International
• Scope – Equality For Disabled People
• Show Racism The Red Card
• Stonewall – LGBTQ+ Rights Juror: Big Bad Boo Studios’ Shabnam Rezaei
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Diversity & Inclusion Mentoring
‘As a woman you have to be stronger when you hit the glass’ Juror and mentor: The Creative Diversity Network’s Deborah Williams
EIGHTå members of the Diversify TV Excellence Awards jury are taking time out during MIPCOM to mentor delegates in diversity and inclusion. Mounia Aram is bringing her experience as an entrepreneur to the table. “I have decided to speak about the glass ceiling,” Aram said. “And I can speak about a double glass ceiling, because when you are a woman coming from diversity it’s more challenging — you have to be stronger when you hit the glass. It took me more time to start my own business; it was really scary for me. But when I met the right person who convinced me I could do it and I decided to go for it, then I felt I was unstoppable!” And Aram wasn’t purely commercially driven in her efforts. “I didn’t just want to launch my company as a business only; I decided to launch it also because I wanted to do something that had a cause behind it.” According to On The Edge Conservation’s Bruna Capozzoli, lockdown has changed people’s perception of themselves as professionals. “We used to think there is a division between the
person we are at home and the person we are at work and traditionally we like to keep a clear line between the two. But with that comes a cost, because if you really suppress who you are at work and you can only be who you truly are at home, that puts a massive weight on you,” she said. “And I think, as some of us got lucky enough to carry on working from home, a lot of people realised that just being who you are feels lighter and easier.” She added: “As a content creator, I think, unfortunately, that a vast amount of the content that is created still comes from the point of view of the male gaze, which offers a very particular view of the world. We do now have more female content creators — it’s still a minority — and I think even our understanding of sexuality also comes a lot through the male gaze, so I felt that it was inevitable that I should make content from my point of view. I am a Brazilian and I also identify as a feminist and a lesbian so it was very important for me to point out that so many shows were talking to a very small percentage of our population. So that’s what took me to
where I am now.” In a mentoring context, juror Deborah Williams, of the UK’s Creative Diversity Network, works along the lines of “information, advice and guidance — showing people the different paths and options that are available to them, encouraging them to think seriously about what they want to achieve and then making a decision on which path to take. And that’s how I like to work,” she said. “And for some people that can mean that they don’t necessarily have to be advocates; they can just be an artist. Because there is an assumption that if you fit a diverse characteristic, you have to carry this burden of being an advocate. And a lot of people can’t do that as well as trying to run a business or make quality content that can be globalised and exported. And I think that there is space for that as much as there is space for doing the work that I do.”
• Diversity & Inclusion Mentoring. In the Agora 2, Riviera 8, Wednesday, October 13, 14.00-15.30
MIPCOM PREVIEW • 30 • October 2021
Juror and mentor: Mounia Aram Company’s Mounia Aram
Juror and mentor: On The Edge Conservation’s Bruna Capozzoli
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Diversity Awards & Mentoring
‘We are making a conscious effort to do better and to do more’ A+E NETWORKS is co-founder of the Diversify TV Excellence Awards and a supporter of the event from the outset. This year Mark Garner, the company’s executive vice-president, global content sales and business development, serves as both an Awards juror and a mentor for the MIPCOM Diversity & Inclusion Mentoring sessions. The company has been focused on such issues for many years. Initiatives currently in place at A+E include Broader Focus, which encourages the hiring and support of female directors, writers and producers to make Lifetime’s programming content. Since its launch in 2014, Broader Focus has helped Lifetime succeed in becoming one of the top employers of women in the industry. Voices Magnified, which launched last year, is a cross-platform campaign that focuses on changemakers doing good in their communities. A+E Networks creates specials and shortform videos that give a spotlight to conversations on equality and social reform which are occurring across the US. Over 70% of its creative teams behind the camera on short-form shoots are people of colour. “I think we have done some things very well and to be honest we're further behind in some areas than others,” Mark Garner told the MIPCOM Preview. “But I think what's been important for me is that we're cognisant of it and we are making a conscious ef-
fort to do better and to do more.” He cites the 15-strong executive team which, with the exception of three people, is made up of white males. “So we have room to develop there. I think we've done very well in terms of recruiting at the entry and mid-level points,” he said, but added that the company still has work to do around pay equity. Many are agreed that diversity and inclusion in the content creation business — and in all businesses — makes commercial as well as economic sense. But is there a cost to the business of establishing diversity, equality and inclusion within a company? “I can’t quantify that, but I can give you a very real example and it’s a cost to the organisation,” Garner said. “I have a senior vice-president of sales, a head of sales role and it's been open since last August, in large part because it has been challenging to find a qualified candidate that fits not only the requirements of the job, tactically, but also I am adamant that the person be someone of a background different from that which we would typically hire. And it's for two reasons: because one, in this com-
pany, as I mentioned, we need more people of colour, particularly at senior levels; and two, what I've learned during this search is that the content sales segment of the industry has not nurtured and developed senior talent. So there’s a cost to being
MIPCOM PREVIEW • 32 • October 2021
without this major role, because there’s other work that’s not getting done. But it's a cost worth bearing to me.” Garner believes that it could take a generation before his dream of never having to use the word ‘diverse’ again comes true. “As you can tell, I’m a black American — but this is less about myself; I think more about my 13-year-old son. He is of this heritage as well and I hope that when he is sitting in on conversations like this, that they are less important and less focused on these topics. I don’t think that will happen in his lifetime, but I hope in his children’s lifetime these conversations become fewer and farther between.”
Mark Garner, A+E Networks’ executive vice-president, global content sales and business development
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‘Women are now supporting other women and we push each other to succeed’ Nicely Entertainment founder Vanessa Shapiro
A MENTORING session for women in the industry takes place on the morning of Wednesday, October 13, during MIPCOM. The event is hosted by MediaClub’Elles, (MCE) an association of audiovisual professionals which advises on women’s career issues and campaigns to improve the representation of women in television, cinema, radio, music and digital media. Eight mentors will meet with invited professionals to answer questions and give advice on furthering their careers in these sectors during a MIPCOM breakfast session — the sixth such event to be co-organised with MIPTV and MIPCOM organiser, Reed MIDEM. Mentor Simona Ercolani, founder and CEO of production company Stand By Me, said that while women are under-represented as a group, they should be considered very much as individuals in a mentoring context. “A good mentor should know how to listen and always take into account each
We want to move society and the media towards greater equality
mentee’s personality and inclinations,” she said. “Every person is in a unique situation, so the best way to achieve their goals is also unique to them.” She cites research by the New York Film Academy carried out in 2018 to illustrate the situation women currently face in front of the camera. “On the big screen women are less represented than men — 4,900 male characters and just over 2,000 female characters. They speak little — 15,000 female dialogues against 37,000 for men — and their contribution to the plot is marginal.” Founder of the Break The Glass Ceiling agency and MCE president, Florence Sandis, had more shocking statistics: “Women represent less than 20% of those quoted in what is said and written in the media,” Sandis said. “They represent only 20% of the guests on morning radio shows and 30% of the experts cited on television. We want to move society and the media towards greater equality.” For founder and CEO of production and distribution company Nicely Entertainment, Vanessa Shapiro, it’s important that women look to each other to progress: “Women are now supporting other women and we push each other to succeed. To have the support of other women is essential and a reminder that we women are amazing” Such support was given early in a colleague’s career by Marina Williams, co-founder of Asacha Media Group. “I recently heard from one of my previous staff
members who is now CFO at a big enterprise. She said: ‘Thank you for making a difference for me! Showing me how to be confident without being aggressive, emphatic without being perceived weak and how to stay strong in different circumstances.’ I was really moved by this message as actually did not realise at the time that I was having this kind of impact.” In an active mentoring situation, Williams said that a woman’s background should be taken into account by mentors. “There will be differences depending on territories,” she said. “Women are likely to need more mentoring if they have experienced more male-dominated societies — like Africa or Turkey, for example.” International PR consultant Lara Lemens Boy, founder of The French Association for Women in Media, Media Club Elles committee member and organiser of the mentoring event with MIPCOM, said the initiative is set to expand in the coming months: “It will have a digital ad-on in the future, an online meet-up in advance of these sessions, with seasoned attendees giving practical tips specifically for women attendees to help them prepare their attendance at the markets.” • The International Mentor ing & Networking Event for Women in TV, Film and Digital Media, in association with MediaClub’Elles. Honorat (Riviera 8), Wednesday, October 13, 08.30-10.00
MIPCOM PREVIEW • 34 • October 2021
MCE president Florence Sandis
Simona Ercolani, founder and CEO of Stand By Me
Asacha Media Group co-founder Marina Williams
International PR consultant Laura Lemens Boy
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DRAMA: CONVERSATIONS WITH STREAMERS
Local content is key to success in the crowded world of streaming In the last two years, the TV business has been turned on its head by the arrival of a new wave of streamers. Andy Fry looks ahead to discussions that are happening on the ground in Cannes FOLLOWING in the footsteps of Netflix and Amazon Prime, Hollywood majors including Disney, Warner Bros. and ViacomCBS have all rebuilt their vertically-integrated models with direct-to-consumer subscrip-
tion offerings at their heart. In the process, they have disrupted every aspect of the global content business from theatrical release through to linear broadcasting. Coming into MIPCOM 2021, the situation is still very volatile.
While Disney-owned SVOD platform Disney+ made significant inroads into Netflix’s leadership position in 2020, the likes of Warner’s HBO Max, ViacomCBS’s Paramount+, NBCUniversal’s Peacock and Discovery+ are all still evolving their proposition. So too are leading rivals such as Starzplay, Apple TV+ and YouTube Premium. To make matters even more complicated, 2021/2022 has also seen a surge of activity in the AVOD streaming market. Platforms like ViacomCBS’s Pluto, Fox’s Tubi,
MIPCOM PREVIEW • 35 • October 2021
YouTube and Roku all point to the emergence of a very healthy ad-based proposition. Then there are the regional VOD platforms — with BritBox, Salto, Joyn, Stan, Acorn Media and Viaplay among the most high-profile. One thing that is true, however, is that all these platforms need great content — and some will share insights with MIPCOM delegates. Scheduled to take place in the Debussy Theatre on Monday, 11 October at 14.30, Conversations With Streamers will see executives from a growing list
DRAMA: CONVERSATIONS WITH STREAMERS
‘Streamers have disrupted every aspect of the global content business from theatrical release through to linear broadcasting’ of platforms, — that already includes Discovery+, Viaplay, Paramount+ and Pluto TV — discuss their content strategies in a series of fast-paced interviews. At time of writing, the line-up included Filippa Wallestam, executive vice-president and chief content officer, Nordic Entertainment Group (NENT Group), Viaplay’s parent organisation. Wallestam was appointed chief content officer in October 2019. Prior to that, she was CEO of NENT Group Sweden. Wallestam joined the company in 2014 as head of strategy for free-TV and radio in Sweden, Norway and Denmark. Also signed up for the MIPCOM streamer session are two executives from the ViacomCBS family: Doug Craig and Olivier Jollet. Between the two of them, they will be able to provide delegates with an interesting overview of the current streaming landscape, given that Pluto is ViacomCBS’s flagship AVOD service while Paramount+ is positioned as a premium global SVOD platform. Jollet has been managing director, Europe, at Pluto TV since November 2016. In this time he has helped Pluto build up a bank of around 250 leading content partners. Built around the mantras “drop in” and “watch free”, Pluto has streamed a wide range of content ranging from Netflix series
Narcos to classics like Love Boat. As senior vice-president of content strategy for ViacomCBS Networks International’s (VCNI) streaming division, Doug Craig leads international content strategy, acquisitions, programming and operations for all of VCNI’s portfolio of streaming services. Currently, he is focused on the execution of VCNI’s content proposition and strategy for Paramount+, Pluto TV and Noggin in dozens of key markets — as well as the recently announced SkyShowtime, a new streaming service from Comcast and ViacomCBS that will be launching in select European markets from 2022. Craig said: “Globally, ViacomCBS has an unrivalled content pipeline and library that is key in making us a leader in the global market. Our twin-track streaming strategy across free and pay, with Paramount+ and Pluto TV, positions us for success in advanced and emerging streaming markets. We view Pluto TV as complementary to Paramount+. It is a very effective tool in helping us attract viewers to the SVOD platform, in addition to our linear networks.” Drilling deeper, Craig said Pluto TV is the leading free ad-supported streaming TV service in the US, “recently hitting $1bn annual revenue one year ahead of schedule, while also experiencing explosive growth in international monthly active users.” Paramount+, meanwhile, is available across the Nordics, Australia, LatAm and Canada and features “the best content from all ViacomCBS brands”. According to Craig, the ViacomCBS strategy is hallmarked by three factors that lead to success in streaming: must-see content; strong brands; and ubiquitous distribution. He also stresses the importance of local content. “On Paramount+, our ability to offer premium, locally originated content — along with our global content offering — is what sets Paramount+ apart. In all markets
it is available, P+ features a robust offering of premium, locally originated content.” Myriam Lopez-Otazu, group vice-president, content and acquisitions EMEA and APAC, Discovery+, is also taking part in the session. Lopez-Otazu said the Discovery+ strategy goes beyond just serving Discovery superfans with tried and tested Discovery titles. “We are also adding new premium areas of content, including feature documentaries and new genre mash-ups like Naked And Afraid Of Love,” she said. Lopez-Otazu added that the relationship between linear and VOD is currently being shaped by the evolving strategies of media and entertainment companies. “The future will heavily depend on the individual and collective decisions made by us and our industry colleagues today.” She said that Discovery+’s strategic focus “is to power both global DTC expansion and our core linear business, leveraging powerful competitive advantages: well established consumer connections in every market in the world; vast local-language IP ownership; deep and expanding distribution relationships; and a super-efficient production model. We’re working towards a framework where our streaming and linear portfolio complete each other as opposed to competing.” The streaming market can look very confusing to both audiences and creators — but VCNI’s Craig offers one important take away for MIPCOM delegates: “No matter how complicated the streaming ecosystem becomes, good and quality content will always win, regardless of how people are consuming this content.” • Conversations With Streamers. In the Debussy Theatre, Monday, 11 October, 14.3015.30 and available on catchup at Digital MIPCOM until November 30
MIPCOM PREVIEW • 36 • October 2021
Discovery+’s Myriam LopezOtazu
Paramount+’s Doug Craig
Pluto TV’s Olivier Jollet
Viaplay’s Filippa Wallestam
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DRAMA BUYERS ADVISORY BOARD
Board steering a steady course as drama continues to drive industry FOR MUCH of the last decade, the global TV business has been enjoying a boom in scripted production. Investment by streamers and US studios, combined with a surge in international co-productions, has led to an unprecedented range and quality of content — much of which has been showcased at MIPTV and MIPCOM. In 2016, Reed MIDEM, responded to this development by launching its Drama Buyers Advisory Board, a group of buyers, commissioners and content creators drawn from leading channels, platforms and studios around the world. Four years on, the Board continues to play a pivotal role in devising key initiatives related to the company’s events. The Board meets several times a year and has made a particularly important contribution to the development of the MIPDrama Screenings. For MIPTV, for example, the Board has been closely involved in the selection of new drama series that are presented to influential acquisition executives. Among these was the eventual winner of MIPTV’s prestigious Buyers’ Coup de Coeur award in 2021: Agatha Christie’s Sven
Hjerson, a Be-Reel production for TV4 Sweden and CMore. The Board currently stands at five following the recent retirement of TV2 Denmark’s acquisitions chief Anette Romer. These include Sarah Wright, director of Sky Cinema and acquisitions at Sky; Ignacio Barrera, senior vice-president, sales and business development, Telemundo Global Studios, NBCUniversal; Viktoria Wasilewski, head of content at Amazon Prime Video Italy; Geraldine Easter, managing director of Filmworks and Aline Marrache, senior vice-president, development, original scripted content, Universal Music France — offering combined experience from streaming, pay TV and free TV. During her time on the board Sky’s Wright has seen her employer become part of Comcast’s vast international media network. Earlier this year, she was made group director of acquisitions, putting her in charge of all of the company’s European buying activity. Wasilewski, now head of content at Amazon Prime Video Italy, has played a core role in the development of Amazon’s territory specific service — first
in Germany and now in Italy. Earlier this year, she revealed that her company had acquired Monterossi, a six-episode comedic thriller series based on Alessandro Robecchi’s crime novels. This announcement was made in parallel with investments in two original scripted series — Mafia-themed thriller The Bad Guy and young-adult drama series about identical twins, Prisma. Of the five board members, three have been involved in the programme since the start — providing a continuity of vision that has helped MIPTV/MIPCOM evolve its own scripted proposition in the face of massive industry disruption. In 2019 Universal Music’s Marrache swapped two decades as a leading buyer for production when she took up her role as senior vice-president, development, original scripted content at Universal. Immediately prior to that, she had risen through the ranks at sister company Canal+. Speaking to the MIPCOM Preview, Marrache said that the scripted genre continues to be in robust shape despite the COVID-19 pandemic. In terms of
Filmwork‘s Geraldine Easter
Sky’s Sarah Wright
Telemundo’s Ignacio Barrera
MIPCOM PREVIEW • 38 • October 2021
trends, she said “there is still a massive offering of thrillers, cop shows and crime/noir on the market, as it is the genre that drives audience among broadcasters and platforms worldwide. We also see the emergence of new genres, such as numerous futuristic and dystopian dramas, especially on the topic of ecology, disease and pandemics.” She said her own company is “keen on developing high-concept scripted series in which the subject of music would be at the centre; or at least where the storyline has a particular link to the music industry, creation and/ or talents. We are already in development on some very strong concepts and stories, with both French and international co-producing partners, which we will be announcing to the industry shortly.”
Universal Music France’s Aline Marrache
Amazon’s Viktoria Wasilewski
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ACROSS six days from October 8-13, audience, professionals and stars walk the famous CANNESERIES pink carpet to screenings and events marking the fourth edition of the Cannes International Series Festival. The event highlights series from around the world released in France and internationally. The selection emphasises “creativity and audacity”, according to the event’s organisers, with its eye on tomorrow’s talent while also “paying trib-
ute to accomplished artists” by “creating a tight bond with the audience throughout numerous encounters and a totally free access to all its screenings and rendezvous”. Here we look at the Official Selection, which includes short films and series to be shown Out of Competition. The series In Competion and Out of Competition are screened in the Grand Auditorium Louis Lumiere. The Short Form Competition screenings are in the Espace Mirimar.
Alive Films (Finland) and distributed by Federation International (TBA). Screening: October 9, 18.00
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Mister 8 (8 x 30 mins), from It’s
© It’s Alive Films - Jari Salo
SERIES IN COMPETITION
Totems (8 x 52 mins), from Amazon, Gaumont (France, Czech Republic, Spain). Screening: October 9, 21.00
by Lucky Red and Sky Italia. Screening: October 12, 18.00
MIPCOM PREVIEW • 40 • October 2021
Dreams Of Alice (8 x 48 mins), from 1-2-3 Production (Russia). Screening: October 10, 18.00
Countrymen (8 x 45 mins), from Rubicon (Norway, Denmark) and distributed by Banijay Rights. Screening: October 12, 10.00
Unknowns (9 x 50 mins), from Rabel Films (Israel). Screening: October 11, 10.00
News ©Disney Enterprises Inc.
SHORT-FORM COMPETITION Wipe Me Away (8 x 20 mins), from Babel Films (Canada). Screening: October 12, 10.30 Lockdown (12 x 10 mins), from De Wereldvrede & Lecter Scripted Media (Belgium). Screening: October 12, 10.30
Limbo… Until It’s Over (8 x 45 mins), from Star Original Productions and Pampa Films/Gloriamundi Producciones (Argentina, Spain) and distributed by Disney Media & Entertainment Distribution. Screening: October 9, 11.00
The Guardians Of Justice (7 episodes), from Bootleg Universe (US, Spain, Finland). Screening: October 12, 10.30
i-ART (8 x 10 mins), from blackpills, Woow your life (US). Screening: October 12, 14.00
About Saturday (12 x 4-12 mis), from Maipo Film (Norway). Screening: October 12, 14.00
Sad City Girls (10 x 30 mins), from Yoav
This Is Not A Hotel (8 x 10 mins), from UN3, LxBeba, Posta, Pororoca Films (Argentina) and distributed by Posta. Screening: October 12, 10.30
Gross Productions (Israel). Screening: October 12, 18.00
Hudson Falls (6 x 20 mins), from Zero Channel Media (US) and distributed by The Gersh Agency. Screening: October 12, 14.00 Sheker (8 x 17 mins), produced and distributed by Salem Social Media (Kazakhstan). Screening: October 12, 14.00
Dumped (8 x 3 mins), from Moon Hearts Production (France). Screening: October 12, 14.00 Copyright : Moon Hearts Production
Pops (60 x 1.5 mins), from Good Story Media (Russia) and distributed by GPM RTV. Screening: October 12, 10.30
Awake (10 x 50 mins), produced and distributed by United Media (Serbia). Screening: October 10, 11.00
Glauben, produced by Moovie for TVNow (Germany). Screening: October 11, 18.00 MIPCOM PREVIEW • 42 • October 2021
SERIES OUT OF COMPETITION All The Way Up – Season 2 (9 x 30 mins), from Mandarin Television & Autodidakte Production (France) and distributed by Studiocanal. Screening: October 8, 19.00 Around The World In 80 Days (8 x 52 mins), from Slim Film + Television/ Federation Entertainment (UK, France) and distributed by Federation Entertainment. Screening: October 10, 21.00 Sisi (6 x 60 mins) from Story House Pictures, Satel Film and Beta Film (Germany). Distributed by Beta Film (Germany). Screening: October 11, 18.00 Gomorrah – Final Season (10 x 50 mins), from Sky Studios, Cattleya (Italy) in collaboration with Beta Film and distributed by Beta Film. Screening: October 13, 20.00
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10 × 45 min. | HD
Slim 80 Days / Federation Entertainment / Peu Communications / ZDF / Be-FILMS / RTBF (Télévision belge)– 2021
Around The World In 80 Days
Ibrahim Koma, David Tennant and Leonie Benesch in Federation Entertainment’s Around the World In 80 Days
MIPCOM PREVIEW • 44 • October 2021
WORLD PREMIERE TV SERIES
The eight-part television adaptation of Jules Verne’s Around The World In 80 Days will premiere at CANNESERIES in association with MIPCOM. It is a co-production from Slim Film + Television (Simon Crawford Collins) and Federation (Lionel Uzan, Pascal Breton) for the European Alliance formed by France Televisions, ZDF and RAI, with additional coproduction partners Peu Communications in South Africa, Masterpiece PBS in the US, Seven West Media in Australia, Be-FILMS and RTBF in Belgium and Daro Film. The series has been acquired by BBC in the UK and RTS in Switzerland. Federation will handle distribution rights to the series, which stars David Tennant, Ibrahim Koma and Leonie Benesch LONDON, 1872. Phileas Fogg (David Tennant), a man of mysterious wealth, is inspired by an article about the exciting advances in travel and decides to take on an almost impossible wager — to circumnavigate the globe in just 80 days — shocked into the decision by a postcard from a former lover branding him a coward. But as a man who has spent the last 20 years in the same comfortable leather armchair at The Reform Club in London’s exclusive Mayfair, he will need all the help he can get. This comes in the form of the quick-witted Frenchman, Passepartout (Ibrahim Koma) who recently became Fogg’s valet. Joining them on the voyage will be Abigail Fortescue (Leonie Benesch), the Daily Telegraph journalist who wrote the article that inspired Fogg to take on the challenge. The journey becomes a life-changing experience for all three of them.
Fogg is a Victorian English gentleman whose unexplained wealth enables him to luxuriate in the surroundings of The Reform Club, although he secretly harbours a desire for adventure inspired by his reading about explorers who travel the world. Jean Passepartout is a man who has seen it all. Quick-witted and brave, he becomes valet to Fogg and agrees quickly to take part in the wager, as getting out of London fast wouldn’t be a bad idea for him right now. Daily Telegraph writer Abigail ‘Fix’ Fortescue wants to prove herself to her father, Bernard Fortescue, the newspaper’s owner, who is encouraging of her journalistic career — rare for a woman in Victorian times — but still has a tendency to credit her work to men. The story centres around the coming together of these three distinct personalities, all of whom would benefit in their
own way from embarking on a dangerous, life-changing journey. According to executive producer, Slim Film + Television’s Simon Crawford Collins, the idea for the series came during a visit to a bookshop some five years ago. “We were hunting for exciting titles that would engage with audiences. One title that leapt off the shelf was Jules Verne’s Around the World in Eighty Days,” Collins said. “It then became an exciting challenge to put all the pieces of the jigsaw together. Working with writer Ashley Pharaoh and The European Alliance on the development of the script was extremely exciting and then having David Tennant join us as Phileas Fogg was a huge leap forward.” But the team took license with the novel. Pharoah, the series’ creator, writer and executive producer, said this new filmed version of the Jules Verne story is more an
MIPCOM PREVIEW • 46 • October 2021
interpretation than a faithful rendition. “Our version includes all the themes of the book about travel, adventure and a willingness to experience and we’ve made them our own,” he said. For example, in the novel Fix is a police detective who’s chasing Fogg round the world for a crime he didn’t commit. In this version the character’s name has been given to the daughter of one of Fogg’s best friends, Fortescue, with whom he spends every day in The Reform Club. He’s the owner of the Daily Telegraph and his daughter, Fix Fortescue, is determined to become a respected journalist despite her father’s efforts to undermine her career. “The main difference between the Fix in the book and our Fix is almost everything really,” Pharoah said. “The character of Fix is fundamental in the series because she is the one helping Passepartout and Fogg to
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WORLD PREMIERE TV SERIES evolve and overcome their traumas,” executive producer, Federation Entertainment’s Lionel Uzan said.” She’s also a strong-minded woman fighting for her place in a manly world. Leonie is just perfect for the role. Leonie is the type of actress who also brings an immediate empa-
thy for the character.” “Fix has always been adored by her father, which doesn’t always lead to the best outcome,” Benesch said. “When her father attributes her story to a fictional male writer this makes her question her position within the newspaper and as a writer. This pushes
Fix to want to prove herself even more. She sees travelling around the world with Fogg and Passepartout as a definitive way to make her mark in this man’s world. In her mind this will also impress her father and prove to him that she is born to be a writer. The wonderful thing as the
David Tennant on set as Phileas Fogg in Around The World In Eighty Days. (Federation Entertainment)
MIPCOM PREVIEW • 48 • October 2021
story progresses is that as her articles are published from around the world, the audience will see her father struggle as he watches his daughter doing a better job than he ever did as a journalist.” The role of Fix was the catalyst to the whole story, according to director Steve
WORLD PREMIERE TV SERIES Barron. “I was so taken by Leonie Benesch’s performance in the startling German film The White Ribbon (2009) — she was absolutely incredible in it,” he said. “In Fix she portrays a strong female character that knows what she wants and she is the one who often pulls Fogg and Passepartout through the various scrapes they get into. I really enjoy the excitement of Fix’s first assignment for her father’s newspaper. The excitement of knowing that she created the spark of an idea that ultimately sets Fogg off on his journey really shows that she holds the power.” “I think with any script, you approach it with as open a view as you can,” David Tennant said. “Episode one was very exciting to read and I read it quickly and wanted to know what happened next. The first episode, which was all I read initially, rattles along and is a real mission statement for what the series is going to be. It’s very exciting. The characters are very much Ashley’s version of those characters; they’re quite different in many ways to Jules Verne’s original version.” And Tennant has warm words for his co-stars. “Leonie and Ibrahim are magnificent travelling companions both on set and off,” he said. “I think they’re brilliant and I’m very impressed and thrilled by them. I can’t think of two better actors for those roles and the way they really bring them to life. They have
both got amazing spark to them, yet have very contrasting kinds of energies.” The series also marked the first time Tennant has worked with his 18-year-old son Ty, who plays a gang leader in the series. “It was a first for us as a family. He’s been doing lots of other exciting things but in this he was playing a bit of a thug,” Tennant said. “In episode eight he had to try to take down Fogg in a New York warehouse so there were lots of family dynamics being played out that day! It was a great experience as I’ve been really looking forward to working with him.” The series boasts strong production values, which made it a positive experience for the cast. “Even though we knew they were just sets, it really felt at times that we were in another century. The sets were very beautiful,” Ibrahim Koma said. “Sebastian [Krawinkel] our production designer also added all these smells to each of the sets so that you really believed that you were in these exotic places. There were the smells of the animals and spices, so you were able to get that real experience. It was better than I ever imagined and I was so impressed with the production values.” Tennant added: “In all the sets we were on it boggles my mind to think of the attention to detail and the amount of work that went into the construction before I even turned up.” For Uzan: “The production values had to be top-notch because the
DNA of the show required this.” For director Barron, the colours were as important as the smells: “As we travel through the countries and episodes it was important to me that the colour palette changed with us,” he said. “This was something that Sebastian and I really focused on in the beginning. We discussed having a different colour for each country, starting with a mustardy London and then as our journey takes Fogg, Passepartout and Fix to Paris, we went for blue tones. We then moved on to a green/blue hue for Italy and then brightened it all up with a really strong Yemeni white. After that we moved on to orange for India. The colour progression was a key element we wanted to showcase.” The series began with Collins’ bookshop revelation, Pharoah’s initial interpretation followed, and then the business side quickly fell into place. “Their vision touched us and the entire European Alliance, France Televisions, RAI and ZDF immediately,” France Televisions/European Alliance’s Nathalie Biancolli said. “Who doesn’t want to see a new adaptation of this universal story that resonates so much in the hearts of all, for all generations and all countries? We then came to Pascal Breton, president, and Lionel Uzan, CEO, of Federation Entertainment who immediately decided to join us in this adventure.” Early on in the process
MIPCOM PREVIEW • 50 • October 2021
COVID-19 intervened, but this was handled with care and expertise according to Biancolli. “I really want to congratulate Federation Entertainment and Slim Film + Television, who faced this crisis with professionalism and speed of action,” she said. “They managed the health and safety of our cast and crew and adapted the shoots to be able to keep the filming schedule running between South Africa and Romania. We are extremely proud of this joint effort and the results have really served this great adaptation.” Federation Entertainment’s Pascal Breton, added: “I can think of no better way to launch the Alliance of European Public Broadcasters than with a large-scale international series starring top talents from the UK, France and Germany, and adapted from one of France’s greatest authors of the 20th century. This exciting family-oriented show is sure to delight families all over the world when it premieres in the 2021 Christmas season, and Federation is delighted to bring together such great European talents and top public broadcasters for this event.’’
• World Premiere Screening at CANNESERIES in association with MIPCOM. In the Grand Auditorium Louis Lumiere on Sunday, October 10 at 18.00
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Upskilling crucial as success leads to shortage of talent A MIP WORKOUT round-table conversation, How Do We Upskill Producers During A Global Skills Shortage Crisis?, focuses on the skills shortage — specifically in production — that has resulted from a combination of rapid growth in demand for content, post-Brexit regulations and the COVID-19 pandemic. “Unfortunately, to meet the huge increase in production, we have not prepared for the boom internationally with a talent pipeline to meet these demands,” says head of production at Pulse Films, Bianca Gavin, who is hosting the session. A company with international reach, Gavin said that her observations aren’t confined to the UK, Pulse’s base country. “Anecdotally, my colleagues in the US, Canada and different European countries have reported a saturated market which sounds extremely familiar to me and my experience in the
UK, where crewing up is remarkably challenging.” She added: “In London we see accountants being flown in from Romania, stunt
performers hired from Hungary; this will have knock-on effects on the countries from where the talent is sourced.”
• How Do We Upskill Producers During A Global Skills Shortage Crisis? is in Honorat (Riviera 8) Monday, October 11 at 14.4515.30. Be early, space is limited.
Pulse’s Bianca Gavin
Streaming didn’t kill the distributors ANOTHER MIP Workout round-table conversation, New Deal Structures – Trends In Deal Making With Streamers, on Mon-
Ampere Analysis’ Guy Bisson
day, October 11, will examine how the increasingly crowded streaming market and the insatiable need for fresh content are changing the nature of rights deals. The session’s host, executive director, Ampere Analysis, Guy Bisson, said that the ever-growing number of SVOD and AVOD services and the resulting complexities in windowing mean that distributors are back. “The SVOD market has been led by paying models that have generally based themselves on the reliance on exclusivity of content,” Bisson said. But three significant developments are now disrupting the disruptors: AVOD, a subscription-free streaming alternative to the giants; the arrival of Disney+,
And the problem goes right along the food chain: “The pipeline is certainly challenged across genres; when so many huge-budget US features come to London, they scoop up the high-end drama teams, the high-end dramas may in turn recruit from the lower-budget dramas and comedies and then the comedies and smaller dramas need to find talent from elsewhere.” And “it makes sense that unscripted productions are experiencing a parallel”. Gavin added that the need now is for “producers who can balance the needs of budget, scale and creativity, which previously may have taken many years of experience to cultivate, especially when working to international platform providers who they may not have worked with before. The skillset required for that is very broad.”
HBO+ and others; and the fact that “studio content is increasingly being held back for [the studio’s] own platforms”. All of which is leading to increased experimentation with windowing.” A recent development is a willingness for the streamers to do short-term deals. They maintain exclusivity for a few months and then the content can then be licensed to a second and then a third streamer. “So you have multiple-split-windowing,” Bisson said. An example is with Universal: “They pulled all their content from HBO, sold it to its own platform, Peacock, and then a few weeks later did split first-window deals, some with Amazon and some with Netflix.”
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So is this leading to the resurrection of the distributors? “The people who I would have said were doomed two years ago are the ones who, it turns out, are not doomed at all — the smaller and medium-sized companies [producers and distributors] who don’t have their own platforms or content-parents and are going direct, able to fulfil the demand for content from everyone else. And those content deals are becoming increasingly complicated in terms of the way the windowing works — and so absolutely I think the sector that I probably thought was most at risk is kind of being re-born.” • New Deal Structures – Trends In Deal Making With Streamers, is in Honorat (Riviera 8) on Monday, October 11 at 14.4515.30. Be early, space is limited.
Content trends: Formats and Fiction
True crime, guessing games and sex are keys to future success THE WIT’s Fresh TV sessions, presented by Virginia Mouseler, have always been a popular and well-attended element of the MIPTV and MIPCOM conference programmes. So fans will be happy to learn that Mouseler is back in Cannes for MIPCOM, this time to deliver insights into international formats and fiction. Mouseler has not yet revealed the titles she is showcasing during her sessions. But with The Wit tracking global trends on a daily basis, she did outline a few themes that are likely to inform her narrative. In formats “one trend after the success of The Masked Singer is that companies are looking at more countries as the potential source of new ideas,” she says. “Korea and Japan are two points of origin that are attracting a lot of attention. CJ ENM’s I Can See Your Voice and Amazon Prime Japan’s LOL have both done well.” In terms of the next wave that might attract attention, Mouseler says Thailand, Russia and Eastern Europe show some promise, “but it’s not a quick process. It took Korea 20 years to get to the
point it is at now — because the formats business isn’t just about producing great shows, it’s about marketing them to the world.” In terms of content trends, The Masked Singer has sparked a wave of interest in “guessing games”, she says. “Also of interest to format producers and distributors are hybrids, for example talent show/game show combinations.” While the hunt for innovative ideas hasn’t slowed down, Mouseler says that the market is increasingly dominated by established IP — with titles like Family Feud, Survivor and The Voice continuing to excel: “For major players like Banijay, new ideas are not necessarily the main issue — more important is growing and
protecting existing franchises that are proven to work. That said, we are seeing a trend towards format revivals, around titles like Temptation Island.” As part of The Wit’s suite of services to clients, Mouseler says the run-up to MIPCOM will also see the launch of a new format tracking tool. “We are tracking formats every day, so this will be a new real-time service. It will keep our subscribers up to date with every format deal as it is announced in the press and every new format that goes live on broadcasters around the world.” With drama, Mouseler says true crime continues to be in strong demand: “True crime offers global audiences many forms of pleas-
New ideas are not necessarily the main issue — more important is growing and protecting existing franchises
The Wit’s Virginia Mouseler
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ure. It’s escapism, it’s nostalgia, it offers great stories. And because it is true it is relatively easy to market internationally.” While the UK and US are leaders in this genre, Mouseler says truecrime scripted shows are emerging from many markets, including France and Germany. The other key trend, she says, is “content for young adults. The streamers in particular are investing in shows that are daring, sexy and adventurous. They allow audiences to explore how society and relationships are evolving.” • Fresh TV Formats. The Grand Auditorium Louis Lumiere, Monday, October 11, 13.1514.15. Fresh TV Fiction. Debussy Theatre, Tuesday, October 12, 13.15-14.00. Live streaming on Digital MIPCOM: available on catch-up until November 30
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TRENDS SHAPING BUSINESS
COVID changes global viewing patterns, research shows MEDIAMETRIE-owned research firm Glance, formerly known as Eurodata, has built up a formidable reputation for the range and quality of its audience measurement and insight. Created more than 25 years ago, the company aggregates TV ratings for over 7,000 channels in 120 countries. In addition, it tracks the latest TV and online content trends in around 50 territories. This MIPCOM, the Glance team is presenting delegates with key findings from this wealth of data, providing a taster of the kinds of services that are currently on offer to around 230 clients, some of whom subscribe to Glance data, others who access reports and insights on an ad-hoc basis. Glance is well-positioned to keep content executives up to speed “because of the exhaustive nature of our tracking”, head of content insight at Glance, Avril Blondelot, said. “We monitor all major TV territories, so we are able to help commissioners and distributors understand the implications of any new show.” There are two main parts to the MIPCOM session: “Firstly,” she
says, “we look at audience viewing patterns. As we already discussed during MIPTV in April, content consumption was very high in 2020 because of sanitary crisis lockdowns. So we will explore how that has developed in 2021 and we will also analyse shifts in the way audiences view content.” On the latter point, Glance’s MIPTV presentation provided valuable insights into the speed of growth of SVOD viewing in France and the Nordics. It also identified The Crown and The Queen’s Gambit as strong SVOD performers across Europe. “At MIPTV we reported that Europe was watching more TV than North America, for the first
time ever,” Blondelot said. “The fact that both Europe and Latin America saw rises in viewing while North America dropped may have been to do with local responses to the COVID-19 crisis, but it’s a trend we are looking at again during this presentation.” The second component of the Glance session focuses more closely on content trends: “Clearly, there is continued demand for high-quality drama, so I will explore that in detail. But there is also strong need for factual content and formats. Right now there is an interesting mix of classic IP revivals and surprising new formats, sometimes coming from less well-known territories.”
Live sport and news are areas where audiences turn to linear channels
Glance’s Avril Blondelot
MIPCOM PREVIEW • 54 • October 2021
Blondelot said she also plans to share insights into the impact of the Tokyo Olympics on viewing patterns. “I think an important issue right now for broadcasters is what kind of content will help them compete with the streamers. Live sport and news are areas where audiences turn to linear channels. And we’re also seeing leading channels investing in Super XL versions of shows to win audiences. A good example is TF1 in France, which is airing Koh Lanta: The Legend and The Voice all-stars this autumn. Both should appeal to audiences and advertisers.” • Global TV Trends, Who Is Watching What, How And Why? In the Debussy Theatre, Monday, October 11, 10.3011.15. Available on catch-up at Digital MIPCOM until November 30
Content trends: Factual
Factual accentuates the positive as COVID comes under control FACTUAL TV production is bouncing back strongly from COVID-19, but the pandemic continues to have a significant impact on editorial decision-making, said K7 Media communications manager David Ciaramella, who presents his company’s latest findings on the genre at MIPCOM on October 12 in the Debussy Theatre. “After a difficult time, when lots of people have been isolated and afraid, it’s no real surprise that we’re seeing a lot of shows that explore the issue of mental health and personal well-being,” Ciaramella said. “There’s a wide range, from Roman Kemp’s Our Silent Emergency on BBC in the UK, through to Down To Earth, a Netflix travel/wellness series presented by Zac Efron.” But he stressed that some of the programming emerging into the post-pandemic light attempts to capture a more upbeat tone. “One positive to have come out of a very challenging time is that it has shown what people can achieve if they really try. Some shows are really accentuating themes like resilience and altruism. One that comes to mind is BBC2’s moving documentary series Saved By A Stranger, which tells the story of people who were rescued from traumatic and dangerous situations by people they didn’t know.” Another show that attempts to
One theme that has come to the forefront is diversity and inclusion
draw some positive lessons from the COVID-19 emergency is Apple TV+’s The Year Earth Changed. Narrated by David Attenborough, the documentary special illustrates how even the smallest change in human behaviour can allow wildlife to co-exist and thrive. K7 generates its insights through a combination of industry data and regular dialogue with commissioners and acquisitions executives, Ciaramella said. “Aside from pandemic-related issues, one theme that has really come to the forefront in the last year is diversity and inclusion — both on- and off-screen.” There has been “an increasing number of hybrid concepts, that attempt to tell stories about inclusion in a compelling way. Sport in particular is proving very dynamic,” he said. “Amazon Prime aired Steelers, the story of the world’s first gay rugby club. Another Amazon series, Warriors On The Field, explores the lives of three indigenous stars playing Aussie Rules Football.” Other trends that Ciaramella highlights during his session include the growing investment in factual TV by streamers. “The streamers are no longer just interested in drama, high-end documentary and true crime,” he said. “They’ve really expanded the range of their factual programming output. It’s worth noting, though, that the new streamers are targeting a different kind of show from their more established rivals. Netflix shows appear to be aimed at a young global audience, whereas Discovery+ and HBO Max [in the process
of merging] are seemingly going after more populist, locally produced programming.” Local content is another area that appears to have thrived in response to the challenges of COVID-19. “Logistically, it has been harder for producers to travel — so this has shifted the focus to stories closer to home. In natural history, for example, we’ve seen shows like RTV1’s
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Wild Serbia, NPO Netherlands’ Het Wad and Channel 5 UK’s Scotland: A Year In The Wild. I think there have also been some interesting examples of shows that attempt to create a global feel while staying close to home. An example of this would be Red Arrow Studios International’s new format Secret Treasures Of The Museum — which was a ratings hit for Snowman Productions and broadcaster DR in Denmark.” • MIPCOM Factual Trends: What’s Next For Non-Scripted? The Debussy Theatre, Tuesday, October 12, 09.30-10.00. Live streaming on Digital MIPCOM: available on catchup until November 30
K7 Media’s David Ciaramella
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‘Why do you have to protect your formats, and is it worth it?’ TWO FRAPA sessions are taking place as part of the MIPCOM (Re)Connect strand — Monday’s FRAPA Formats Summit and Tuesday’s FRAPA Networking Workshop. With VIP guests and speakers still to be announced, both sessions are being hosted by FRAPA cochairs Jan Salling, head of Nordic Productions, BBC Studios and entertainment formats guru Phil Gurin. FRAPA came into being over 20 years ago and brings together formats experts who advise producers and rightsowners on protection of their IP as well as programme development. “We have always been — and will always be — the independent body you can go to get your format protected,” Salling told the MIPCOM Preview. “Where you’ll get information about how and why you should protect your format and where you will get good advice from people who are impartial but who work in the industry.” Since Salling and Gurin took over as joint chairs some six years ago, they have changed the emphasis of FRAPA’s work towards business facilitating. “We were aware
that our small-to-medium sized members, being startup producers or producers at the early stages of their careers, join FRAPA both to get advice on how to protect their formats but also how to do business. So they join for business reasons as much as they do for format protection reasons,” Salling said. “And at events like our Summit at MIPCOM or our networking sessions they can get access to the board, a prestigious group of people who it would be hard to get hold of if you are a newcomer to the industry: for
example, Carlotta Rossi Spencer from Banijay, Nick Smith from All3Media, Mike Beale from ITV, people like that who are at the top of the industry can be hard to get a meeting with if you don’t have anything tangible to speak with them about.” In the field of formats protection, FRAPA’s aim is to arm rightholders with information: “Why do you have to protect your formats? How do you do that? And is it worth it? And how can the small companies stand a chance against the big companies if they’re be-
Most cases shut down outside the courtroom, so they never go public
FRAPA co-chair Jan Salling
MIPCOM PREVIEW • 60 • October 2021
ing ripped off? And what is the mechanism for shaming — public shaming? And why is that a good tool to have in your toolbox if you want to go up against the big bandits?” Salling added: “So if you are a startup producer and you go to the FRAPA summit you should be able to say at the end, ‘OK now I know how to protect and how much it costs and why I should do it — and how I should behave if somebody rips me off’. And if you attend the Tuesday session, the speed networking and information sharing session, you would have a handful of business cards at the end of that, from like-minded people you can then meet with later. “People ask me if the situation is the same or is it getting better — are there fewer cases of infringement than there were 10 or 20 years ago and I would say it’s still about the same — sometimes the territories where it happens, they change,” Salling said. “But it’s a good handful every year that FRAPA gets involved in. And sometimes people ask us for mediation or just advice, or they ask us for format analysis service which is one of the services we have for FRAPA members — where we compare two formats, one so-called original and one so-called infringed format and we compare them frame-byframe and we end up with a score and a FRAPA judgement. That’s a very useful service and can help to inform people whether or not to proceed further with action.” He added: “And most cases are closed, shut down outside the courtroom, so they never go public.” • The FRAPA Formats Summit. In Marguerite (Riviera 8), Monday October 11, 09.45-11.45 • The FRAPA Networking Workshop. In Honorat (Riviera 8), Tuesday October 12, 10.3011.30. Be early, space is limited
MARKET SCREENINGS A series of Market Screenings are happening in Cannes this year. Buyers will get the opportunity to see brand new and repeat series from around the world across the three days of MIPCOM. Here we look at a some of the content on show GORBACHEV. HEAVEN
FROM All3Media, Angela Black is the latest psychological thriller from Harry and Jack Williams’ Two Brothers Pictures, with Spectrum in the US co-producing and the UK’s ITV commissioning. Angela Black’s life appears stylish and idyllic. However, beneath this facade, Angela may also be the victim of domestic abuse from her husband, Oliver. Trapped in a relationship she cannot escape, Angela is approached by Ed, a private investigator, who has some horrifying details about Oliver’s secrets. Maartje Horchner, executive vice-president of content at All3Media International, said of the series: “Infused with the Williams brothers’ signature twists, Angela Black is a dark, powerful story about a toxic and controlling relationship — long hidden behind closed doors — as it begins to unravel.” Angela Black (All3Media International)
ACCLAIMED documentary filmmaker Vitaly Manskiy and Current Time TV’s Pavel Butorin and Kenan Aliev host a MIPCOM discussion and screening of Gorbachev. Heaven, a documentary about changes that reverberated throughout the world with the coming to power of this one man. The film sums-up the life of Gorbachev, who precipitated the collapse of the Soviet empire and changed the course of history. It is presented during MIPCOM by the US Agency of Global Media (USAGM).
©Two Brothers Pictures & All3Media International
HOTEL EUROPA FROM Beta Film, for Germany’s ARD, Hotel Europa is based on true events and focuses on a hotel frequented by Charlie Chaplin, Konrad Adenauer and Adolf Hitler. Hotel Europa is described by producer Michael Souvignier, as “an immensely ambitious endeavour that seeks to convey the dramatic history of an entire continent in a very tangible and comprehensive way: through the similarly dramatic biography of a single individual, Emil Dreesen, and his family.»
BETA Film handles world sales for Movistar+ series La Fortuna “which tells the story of a series of adventures — in an epic format, but also from a realistic, institutional perspective,” according to director Alejandro Amenabar. The series is inspired by true events — the recovery of some of the the biggest treasures of the oceans. “Almost like a version of Tintin — but unlike Tintin, our hero does experience love.” Amenabar added: “Who wouldn’t want to make an adventure film or series, to show people a good time and help them forget their problems?”
Gorbachev. Heaven (USAGM)
La Fortuna (Beta Film)
Hotel Europa (Beta Film)
MIPCOM PREVIEW • 62 • October 2021
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MARKET SCREENINGS THE WINDOW
ROD KNOCK BETA Film has the international distribution rights, excluding Denmark, Norway, Sweden and Finland, to Norwegian drama series Rod Knock. Produced by Fenomen and Storyline and commissioned by Norway’s NRK, Rod Knock is a coming-of-age story about a group of young people who are bound together by their love for cruising around in customised cars — and living in a small village in the Norwegian countryside, they consider themselves outsiders. The series received praise for its depiction of young men’s mental health issues. Season three is currently in production.
ZDF ENTERPRISES (ZDFE) and Fuji TV present The Window, a one-hour primetime drama series with a strong thriller element that takes an inside look at elite professional soccer and the business that surrounds it. Across 10 episodes, it charts 10 tense weeks in the life of Jordan Burdett, a humble 17-year-old soccer star who is wanted by every major club in Europe. Series creator James Payne said: “Like many fans, I’m glued to my phone in the summer months, following the sagas of the transfer window. But behind every headline is a high-stakes human story; and for some to seal the deal is the real game.”
The Window (ZDFE/Fuji TV)
Rod Knock, season two (Beta Film)
CRUSADE CRUSADE — Polish title, Krucjata — from Telewizja Polska, is a contemporary crime drama focusing on the investigations of Detective Jan ‘Manjaro’ Gora and his colleagues from the Warsaw Metropolitan Police. At first glance, the cases are not linked, but it soon becomes clear that the kidnappings and murders are connected. The victims include celebrities and powerful people and the detectives eventually discover that behind these crimes is a terrorist organisation operating in Warsaw. Series director is Lukasz Ostalski; sales are by Telewizja Polska.
Crusade (Telewizja Polska)
YOU SHALL NOT LIE
IN THE Movistar+ series You Shall Not Lie, life is quiet and peaceful in the seaside development of Belmonte, until a sex tape of Macarena, a teacher at the local high school, and Ivan, one of her students, starts a wildfire in town. Everyone is affected, especially Macarena, who is shunned by her family and neighbours, including Ana, her former best friend and Ivan’s mother. But things get even more devastating after the lifeless body of a Belmonte resident is found at the bottom of a cliff. The series is distributed by Beta Film, created and directed by Pau Freixas and produced by Filmax.
You Shall Not Lie (Beta Film)
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MIPCOM Buyers Awards for Japanese Drama
‘Broadcasters are eagerly awaiting the opportunities offered by a real market’ A HIGHLIGHT of Japan’s participation in MIPCOM 2021 is the MIPCOM Buyers Awards For Japanese Drama, which gives producers and distributors a means of promoting Japanese content and productions. The drama series shown during the MIPCOM Buyers’ Awards event are mostly new productions broadcast between Q4 2020 and Q3 2021 and selected as suitable for international promotion by all the major Japanese broadcasters. “Japanese content has been struggling to win the attention of international buyers over the past year, but broadcasters have been working hard to improve their content and the results can be seen at MIPCOM this year,” according to Tomoko Nakahara, secretary general, Bureau of the International Drama Festival and director of the Global Content Division, the Japan Commercial Broadcasters Association (JBA). “From the creation of an idea to the full realisation of a production, programme makers are increasingly focusing on international programme sales including remake rights. And as a result of the burgeoning online content market, Japanese content can move more quickly from local on-air broadcasts to worldwide streaming.” The appeal of locally produced content is its regional charm, but it is sometimes difficult to promote that appeal, so effective presentation is essential, Nakahara added. “Being able to co-ordinate such presentations online improves efficiency — in both time and cost. But in-person ex-
perience cannot be discounted. Broadcasters are eagerly awaiting the networking opportunities offered by a ‘real’ market, and as the new director of the Festival, I will endeavour to take full advantage of both the online and hybrid systems.” This year, with MIPCOM happening on the ground once again in Cannes, the Japanese stand includes a MIPCOM Buyers’
Awards Lounge, open to all attendees, where visitors can watch excerpts and receive information about Japanese dramas.
• The MIPCOM Buyers Awards For Japanese Drama breakfast ceremony. In the Agora Lounge (Riviera 8) on Tuesday, October 12, 08.00-09:30
Tomoko Nakahara, secretary general (left) and Rika Hasegawa, co-ordinator, Bureau of the International Drama Festival in Tokyo
MIPCOM PREVIEW • 66 • October 2021
1 DEC 2021 – 30 JUN 2022
MARINA BAY SANDS, SINGAPORE 1 – 3 DEC 2021
ln the business of building businesses
An event of:
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Content for Sale As the content industry gets back to business, we present some of the series and specials available at MIPCOM and beyond…
FILM AND PICTURE TV DISTRIBUTION
FILM And Picture presents its brand-new series Saving Lisa (6 x 52 mins) at MIPCOM. The thriller drama series, produced for M6, has already been sold to Walter Presents for SVOD rights in the US, Canada, Australia and New Zealand, as well as the RTBF (Be Films) in Belgium, and SVOD platform Salto in France. Film & Picture also brings: the second season of Pacific Criminal (20 x 52 mins), with 18 additional episodes in development, a crime series based on Reunion island; a third season for LGBTQ+-focused series Woke (20 x 10 mins/3 x 45 mins); eight new episodes of the collection Murder In; and around 20 new TV movies across various genres.
MIPCOM highlights for Russia’s Art Pictures include: Rugby, an inspiring sports drama about how it is never too late to make a fresh start; Brothers, a comedy about a policeman and his brother, an actor who plays a policeman; M+W Show Between Us, a format and entertainment show featuring celebrity presenters and comedians, sketches and film interpretations; The Russian South, a drama series about a student who crosses the country to pursue the woman he loves; and Knee-high To A Niblick, about a man who, although only 135 cm tall, is not afraid to dream big and sets out to conquer the big city. Rugby (Art Pictures)
KANAL D INTERNATIONAL (KDI) ROMANCE features high in the catalogue from Turkey’s KDI, with two new rom-coms. Recipe Of Love stars Kadir Dogulu as Firat, a chef in a humble kebab restaurant. When he takes the job of chef in a French restaurant he falls in love with the owner. However, will his past history of bad luck when it comes to romance change now? Twist Of Fate tells the story of Ada, a young girl who believes that if she is abandoned by her first love, she will be unhappy forever like the other women in her family. Trying to change this history leads her to a complicated marriage of convenience while working under a handsome workaholic boss.
Pacific Criminal (Film And Picture TV Distribution)
FILM.UA UKRAINE’s Film.UA Group, in co-production with Poland’s TVP, brings the third season of costume drama series Love In Chains (24 x 45 mins) to the market in Cannes, with the fourth season already in production. The series is set in the 19th century, telling the story of a slave girl who is fighting for her freedom and future happiness. The first two seasons have been seen across Eastern Europe, Latin America, Japan, Love In Chains (Film.UA) Spain and South Korea.
Recipe Of Love (KDI)
MIPCOM PREVIEW • 69 • October 2021
Content for Sale ENDEAVOR CONTENT
ENDEAVOR Content introduces The Panthers (6 x 60 ins) to MIPCOM buyers, a vibrant and musical social-justice drama series from New Zealand producer Tavake, in association with Four Knights Film. First commissioned for TVNZ and funded by NZ On Air, The Panthers is based on a true story, the founding of The Polynesian Panthers, a revolutionary movement directly inspired by The Black Panther movement in the US. In 1974, Will ‘Ilolahia, the black sheep of his Tongan family, is frustrated by the fact that his community is under pressure in a broken economic and criminal justice system in Auckland. With a group of young, Polynesian street-gangsters and university students he takes inspiration from The Black Panther organisation in the US and they form The Polynesian Panthers. The Panthers was created by showrunners and executive producers Tom Hern and Halaifonua Finau. Newcomers Dimitrius Schuster-Koloamatangi and Lealani Siaosi star alongside Beulah Koale, Frankie Adams and Roy Billing. Endeavor Content represents worldwide rights for the series.
QUEBEC-based PVP Media brings Secrets Of The Deep to the international market, which follows a team, equipped with state-of-the-art technology and aided by an experienced crew, that tracks down documented treasures hiding deep down in the sea, including remnants of ships, airplanes, artefacts and human remains. The duo of Mario Cyr, an experienced diver, adventurer and explorer and Samuel Cote, a historian and shipwreck hunter, lead the mission.
Secrets Of The Deep (PVP Media)
RUSSIAN TELEVISION AND RADIO NEW SEASON dramas from Russian Television and Radio include: Cloister (8 x 52 mins), set in the 1920s, a love story set against the sufferings of people in the Solovetsky concentration camp, an old monastery; The Lockdown (8 x 52 mins) featuring a series of unexplained deaths that shakes a small resort and the epidemiologist from Moscow who demands it’s shutdown in order to find the source of infection and stop the epidemic; and The Emerald Curse (16 x 52 mins), about a woman who finds rare Ural emeralds which local legend suggests are cursed.
The Panthers (Endeavor Content)
AUTENTIC DISTRIBUTION FACTUAL highlights from Munich-based distributor Autentic include: Wrecks (3 x 52 mins), looking at the engineering behind dealing with shipwrecks and their environmental effects; Baltic Divers – Mission Under Water (working title) (4 x 45 mins), sees divers work in an environment full of leftovers of warfare and over 10,000 wrecks; Rewilding: Back To The Nature (1 x 52 mins/30 mins), about a new form of nature conservation; Revival Of Pilgrim Routes (3 x 52/45 mins), following three ancient pilgrim routes across four European countries; Europe’s Forgotten Dictatorships (2 x 45 mins); Light & Glamour: The History Of The French Riviera (1 x 52 mins); Empire Builders: Ancient Greece (2 x 60 mins); Empire Builders: The Netherlands – Golden Age (2 x 60 mins); and Wildlife Diaries Australia (6 x 45 mins).
Cloister (Russian Television and Radio)
MIPCOM PREVIEW • 71 • October 2021
Content for Sale DARO FILM DISTRIBUTION
FRANCE TV DISTRIBUTION
DARO Film Distribution of Monaco presents two additional seasons of its environmentally focused adventure series Mystic (29 x 30 mins) at MIPCOM. Mystic follows the adventures of a teenage girl and her friends as they try to prevent an ecological catastrophe in a picturesque New Zealand town. The series is a co-production with BBC, ZDF and Super Channel (Canada), with Daro representing worldwide rights excluding UK, Australia and New Zealand. Daro has also acquired rights for Federation Entertainment’s Around The World In 80 Days (8 x 60 mins) in Eastern Europe, English-speaking Africa, CIS and Baltics, Portugal and Portuguese-speaking Africa. Daro is also on board as co-producer alongside ZDF, France Televisions, RAI, Federation Entertainment and Slim Film+Television. The series stars Scottish actor David Tennant, with the first episode premiering worldwide on the closing night of the CANNESERIES festival.
HEADING the drama slate for france tv distribution is A Familiar Stranger/L’Absente (8 x 52 mins), produced by Escazal. After a young woman is hit by a car, she wakes up in hospital not knowing who she is. However, everyone seems to recognise her as a girl who disappeared 11 years ago. A factual priority for the company is Pearl Harbor (1 x 90 mins/2 x 45 mins) from Bonne Pioche & Mediatika. The idyllic setting of Hawaii was the site of one of World War II’s most memorable battles when in 1941 a Japanese air squadron attacked the US fleet in the waters of Pearl Harbor. The following day the US entered the war, taking the conflict A Familiar Stranger (france tv distribution) to a global level.
Mystic (Daro Film Distribution)
HAT TRICK INTERNATIONAL UK-BASED Hat Trick International launches drama series Conviction: The Case Of Stephen Lawrence (3 x 60 mins) at MIPCOM. Produced for the UK’s ITV 1 by HTM (Hat Trick Mercurio) Television in association with Baby Cow Productions, Conviction: The Case Of Stephen Lawrence is the true story of a fight for justice, culminating in the conviction of two of the suspects in one of Britain’s highest-profile murders. It is also the story of an investigation which was beset by hostility, obstruction and sabotage, exposing complacency, racism and corruption within the UK’s largest police force. With diversity at its core, both in front of and behind the camera, the series stars Steve Coogan, Sharlene Whyte and Hugh Quarshie. Also on the slate is From Scratch (20 x 60 mins), featuring former child actor David Moscow who meets chefs from around the world and then hunts, fishes, forages and sources the ingredients for their signature dishes. Along the way he explores aspects of different cultures, including those of Sardinia, Mexico, Iceland and Kenya. Conviction: The Case Of Stephen Lawrence (Hat Trick International)
SIYAYA means ‘Let’s go!’ in the Zulu language and in Siyaya: Come Wild With Us Africa (13 x 26 mins/HD) four young adventurers explore the continent, along the southwestern coast, starting at the Cape of Good Hope, moving north to the border with Namibia and ending up in the Namib Desert and the Skeleton Coast. Another title from the London-based distributor is Bare Feet (40 x 30 mins/HD). Host Mickela Mallozzi journeys around the world exploring culture, dance and celebrations. From Turkey to Buenos Aires and New York, Mallozzi seeks out the traditional side of a number of cultures while connecting with local communities through celebration and artisCome Wild With Us Africa (Scorpion TV) tic expression.
THE INK FACTORY LONDON and LA-based independent studio The Ink Factory and Endeavor Content are developing C Pam Zhang’s debut novel, How Much Of These Hills Is Gold, for television. Anita Gou is to executive produce under her Kindred Spirit banner; Joseph Tsai and Arthur Wang of Hong Kong and London-based media investment firm 127 Wall Productions will also executive produce alongside Stephen Cornwell, Simon Cornwell and Katherine Butler at The Ink Factory. The story is set in the twilight of the Gold Rush, following Chinese-American siblings as they cross the California hills with a gun in their hands and a corpse on their backs, searching for a place to give the body a proper burial.
MIPCOM PREVIEW • 72 • October 2021
Content for Sale DRIVE
DRIVE highlights a new documentary series at MIPCOM, Osama Bin Laden – The Inside Story (3 x 60 mins) that explores four decades of global geopolitics, told through those closest to him,10 years after his death and 20 years after 9/11. Further titles from the London-based distributor include: Madeleine McCann: Investigating The Prime Suspect (3 x 60 mins), in which an ex-detective carries out the first TV investigation into a German paedophile who became prime suspect in the disappearance of the British child; and A Ghost Ruined My Life (8 x 60 mins), which shares true stories of hauntings that have left emotional and someA Ghost Ruined My Life (Drive) times physical scars.
CANADA’s HG Distribution highlights three documentary series during MIPCOM. Each 30-minute episode of Top 10 Outdoor Adventures features action-packed footage, from dog Wild Game (HG Distribution) sledding in the Yukon to kitesurfing in the Atlantic. New series Cat Empire (3 x 52 mins) profiles the most popular pet on the planet, a portrait of an animal which remains enigmatic and misunderstood in many ways. Wild Game (9 x 30 mins) follows Top Chef Canada finalist Rich Francis across Canada’s countryside, where he joins hunters and gatherers, farmers and fishermen to learn, catch and cook spectacular meals.
INCENDO FRED MEDIA TOPPING the MIPCOM slate for Australia’s Fred Media is Sydney Harbour Force (10 x 60 mins), a new observational documentary series, produced by WTFN for Discovery UK, Australia and New Zealand. The series includes extraordinary access and lively characters as it follows the struggles and triumphs of the dedicated team of men and women who control every aspect of Sydney Harbour, one of the largest and busiest natural harbours in the Sydney Harbour Force (Fred Media) world.
INCENDO showcases a collection of romantic-comedy TV movies at MIPCOM. Highlights include Love Knots, in which Jodie’s sail-making business is at risk when a developer purchases her hometown marina. When she meets the lead architect, they work to find compromise between the developer’s vision and essence of the local community. In Destination Love, Madison has the chance to pursue her love of event management when her two friends announce their engagement. Finding a preplanned wedding package on an island vineyard in New Zealand, she teams up with the handsome vineyard owner to organise the event.
Love Knots (Incendo)
BBC STUDIOS TOPPING the scripted drama list for BBC Studios is Sherwood (6 x 50 mins), inspired in part by real events, a contemporary drama involving two shocking killings that shatter an already fractured community. From the factual slate comes the real-life drama Serengeti II (6 x 60 mins). New format I Like The Way You Move (8 x 60 mins) is a fresh take on dating shows, where five single professional dancers partner with people who have never danced before. They’re judged on their chemistry by a dance expert and special guest, and one couple must leave each episode. Comedy titles include The Cleaner (6 x 30 mins), based on German comedy series Crime Scene Cleaner, featuring guest stars including Helena Bonham Carter and David Mitchell. Another highlight is Scandalous:The Maxwell Saga (working title), charting Robert Maxwell’s impoverised beginnings, through fortunes built and lost, mysterious deaths, intrigue and scandal, and culminating in next year’s trial of Ghislaine Maxwell. MIPCOM PREVIEW • 73 • October 2021
Sherwood (BBC Studios)
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Content for Sale ATTRACTION DISTRIBUTION
TWO THRILLERS top the slate for Montreal-based Attraction Distribution. The Sketch Artist (10 x 44 mins/5 x 86 mins) is a suspenseful crime thriller featuring a forensic sketch artist working in the investigation unit of a police department. As part of a team, she uses her skills at reading people to help to solve crimes and tackle cold cases. Way Over Me (6 x 50 mins) is a psychological thriller following Dr Justine Mathieu, who falls under the spell of a new patient struggling with bipolar disorder, a furtive relationship that becomes increasingly dangerous. In contrast, My Very Own Circus (1 x 100 mins) is a family film about a young girl’s ambitions to break out of her family circus business to pursue her schooling.
DISTRIBUTOR GoQuest Media presents espionage thriller Traitor (6 x 58 mins) and dramedy series Divorce In Peace (20 x 28 mins), to MIPCOM buyers. Both are produced by Estonian production company Kassikuld OU. Inspired by recent spy scandals in Estonia, Traitor begins in 2004, just before Estonia joined NATO and became a top target for Russian intelligence. Greed and the need for recognition leads a new recruit to co-operate with Russian intelligence, leading to a cat-andmouse game with a determined young Estonian counter-intelligence officer. Divorce In Peace is about a troubled married couple. A businesswoman wants to end her marriage to a music teacher after 20 years. They can’t find common ground and a relationship therapist compiles a plan for them consisting of 10 tasks. Every episode frames the completion of one of the tasks, the ultimate goal being to grow apart painlessly. Divorce In Peace (GoQuest Media)
The Sketch Artist (Attraction Distribution)
NIPPON TV NIPPON TV’s MIPCOM priorities include a brand-new 60-minute game-show format, Money Or Junk. The new unscripted format is a business survival game show where contestants, based in remote locations, compete by self-monetising and using available resources to sell various items on e-commerce apps. Contestants compete to see who has the greatest earning capacity and anyone can join in the battle. Located in abandoned factory sites or remote villages, the contestants try to create value in what seems like junk before sellings the items via e-commerce apps. Whoever earns the most cash within the time limit is the winner.
Money Or Junk (Nippon TV)
Arctic Circle (LS Distribution)
PARIS-based LS Distribution is back in Cannes with the second season of Arctic Circle (6 x 52 mins), a complex crime thriller set in Lapland. Detective Nina Kautsalo is back, and this time she goes to Russia where she investigates a secret order with a twisted sense of justice, condemning released criminals to death. The series is produced by Yellow Film & TV for Elisa and YLE, and Topic. The company will also be unveiling the French comedy series Unlikely Stepmom and Moebius, a thriller from TV3.
MIPCOM PREVIEW • 75 • October 2021
Content for Sale POORHOUSE INTERNATIONAL
FOLLOWING on from the success of its series The Dark Side Of Hollywood, which profiled movies that made it to cult status despite being box-office flops at their release, Poorhouse is bringing to MIPCOM a new four- part mini-series by Claudia Collao entitled Ill Fated Masterpieces Of European Cinema. Here the filmmaker considers Fritz Lang´s Metropolis, a flop at its première; Eisenstein´s Qué Viva Mexico!, never seen finished by its director; Visconti´s Ossessione, which only survived fascist censorship because the director hid a dupe negative; and Carne´s La Fleur de L´Age, which never really got off the ground and whatever was shot has miraculously disappeared. The four stories reflect the eternal struggle between creativity and profitability and the particular spirit of an era, political power shifts and changing aesthetics.
A PRIORITY for ABC Commercial at MIPCOM is scripted comedy series Fisk (6 x 30 mins/HD). Australian comedian and actor Kitty Flanagan stars in this fast-paced comedy about a highend contracts solicitor who is forced to take a job at a shabby, suburban law firm following a professional fall from grace. Fisk attempts to find her feet in the world of probate, where the clients are at their most irrational. Leading the factual slate is Muster Dogs (4 x 60 mins/HD), which follows four trainers as they each teach a new pup to become an efficient working dog. Win The Week is a new quiz-show format that pairs contestants with famous comedians and celebrities to see which team knows the most about the news of the week.
Fisk (ABC Commercial)
CINEFLIX RIGHTS Sergei Eisenstein, featured in Ill Fated Masterpieces Of European Cinema (Poorhouse International)
CASTA DIVA ENTERTAINMENT NEW ENTITY Casta Diva Entertainment has a range of new original shows on offer to MIPCOM buyers. Tarabaralla is a new cooking format for Discovery+, focused on celebrities and influencers who create sweet recipes. Another cooking format, this time destined for Food Network, C’e Ciccia: Luca Terni, features the chef and butcher as he shares delicious Tuscan dishes. Fare Detailing Con Marcello Mereu is due to launch on Motor Trend, a show that showcases the best practices for car maintenance. The flagship priority for Cannes, created by Casta Diva and due to air on Discovery+, is Back In Time – A Fairytale Love, a dating show where hopefuls wear 19th-century costumes, and in an environment without the benefit of modern technology, search for their soulmates. The company is also planning three documentaries, a biopic of a well-known Italian historical figure and five scripted projects, two of which are musicals.
THREE titles head the MIPCOM slate for London-based Cineflix Rights. Rebecca tells the story of a woman (Anne Marivin), who six years after quitting her job and abandoning the hunt for a serial killer, is back on the police force. As she investigates a spate Crime (Cineflix Rights) of violent murders, she becomes convinced that the killer has resurfaced. Crime is the first adaptation of Irvine Welsh’s best-selling book, in which Detective Inspector Ray Lennox (Dougray Scott) battles his own demons while undertaking serious crime investigations. The series also stars Joanna Vanderham, Angela Griffin and Ken Stott. GOATS: The Greatest Of All Time celebrates the greatest athletes of the past half century through the work of renowned American sports photographer, Walter Iooss. The show features exclusive interviews, including Kobe Bryant, Joe Montana, Derek Jeter, Tiger Woods, Joe Namath, Jack Nicklaus, Caroline Wozniacki and Kelly Slater.
MIPJUNIOR PREVIEW • 76 • October 2021
Content for Sale ITV STUDIOS THE LONG Call (4 x 60 mins) follows Detective Inspector Matthew Venn, who has returned to a small community, with his husband, having left 20 years ago when he was rejected by his family. Now he’s back, he is leading the murder investigation of a man found stabbed on the beach. Pressure mounts further when a young girl goes missing. The drama is brought to Cannes by the UK’s ITV Studios. From the non-scripted slate highlights include: Emergency 2021 (8 x 60 mins), featuring the London Trauma System which covers four hospitals, two air ambulance services, and paramedics and ambulances on the ground; Lost Cities Of The Trojans (2 x 60 mins/1 x 90 mins), an archaeological investigation that sheds new light on the Trojan War and Trojan warriors; and Caesar’s Doomsday War (2 x 60 mins/1 x 90 mins), looking at the ascension of Julius Caesar during the Gallic Wars. Formats available include: Ready To Mingle, featuring one single woman and 10 guys competing for her affections. The twist is that not all the guys are really single, some are being guided by their partners in an effort to win the prize money. Secret Spenders is a format where families are monitored by a team of experts to reveal their overspending and wasteful habits. The families are sent away for a night and when they return the team of experts will have given their home and lives a complete financial overhaul. Sitting On A Fortune is a quiz where six contestants battle it out for the £100,000 cash prize.
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MIPJUNIOR PREVIEW • 77 • October 2021
The Long Call (ITV Studios)
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Content for Sale LUX VIDE
Blanca (Lux Vide)
DYNAMIC TELEVISION PRODUCER Lux Vide, among the largest companies in the Italian scripted market with more than 1,000 hours in primetime content, specialises in long series. Heading its catalogue for MIPCOM is Blanca (12 x 50 mins), about a young blind woman who has the chance to fulfil a childhood dream to become a police consultant. She embarks on this new challenge, determined to overcome the scepticism of her new colleagues and to demonstrate her abilities. Blanca’s skill is to focus her attention on the details that other sighted people miss and which, very often, hide the truth.
PRIME ENTERTAINMENT GROUP PARIS-based distributor Prime Entertainment Group has a host of new documentaries on its MIPCOM roster. Highlights include: the historical documentary The Trial Of Adolf Eichmann (1 x 90 mins), retracing one of the most significant trials in history; Monsters, The Enemy Within (1 x 56 mins), which features some of the greatest horror-film directors discussing monsters in cinema; and A Very Animated War (1 x 52 mins), which explores the political genesis of animation and children’s Monsters, The Enemy Within (Prime entertainment. Entertainment Group)
ON THE MIPCOM slate for Dynamic Television is a series inspired by George A Romero’s 1985 masterpiece, and one of the most popular horror franchises of all time, Day Of The Dead (10 x 60 mins). The story follows six strangers trying to Day Of The Dead (Dynamic survive the first 24 hours of an Television) undead invasion. Unlike most zombie tales, Day Of The Dead isn’t the story of a crisis bringing out the worst in people, instead, it’s an action-packed adventure about how differences become strengths. Harry Wild (8 x 60 mins) stars Jane Seymour as a retired English professor who discovers a knack for investigation and cannot help but interfere with the cases assigned to her police detective son. The US-, Paris- and Berlin-based company also brings the third season of The Sommerdahl Murders (4 x 90 mins/ 8 x 45 mins), a blue-sky take on Nordic Noir, following murder investigations set in Helsingor, Denmark, and based on Anna Grue’s book franchise.
TRACE STUDIOS PARIS-based distributor Trace Studios’ MIPCOM slate includes its new reality documentary series, We Are The Joneses, about a prominent Manhattan plastic surgeon, Dr Michael Jones, and Emmy Award-winning TV personality and actress, Cathleen Trigg, as they balance their multi-million dollar plastic surgery practice, a charity and production of Cathleen’s new talk show Chic Chat, while spending time together with their blended family. Dr Jones is noted as a pioneer in surgery for darker skin types, and his research has led to advancements such as a scar-free rhinoplasty procedure. We Are The Joneses (Trace Studios)
DCD RIGHTS HIDDEN Assets (6 x 60 mins), introduced to MIPCOM buyers by UK distributor DCD Rights, follows a routine raid led by Emer Berry, a detective in the Irish Criminal Assets Bureau, which reveals that a small-time drug dealer has been receiving substantial funding from a seemingly untraceable source — not in cash, but in rough diamonds. When these diamonds are linked to a series of bombings in Belgium, Berry is forced to work with Police Commissioner Christian De Jong. Eventually, reluctantly banding together, they unravel a political conspiracy that fuels domestic unrest for financial gain. Caught up in this web of greed are the Brannigans, a wealthy Irish dynasty with ties to Antwerp. Drawn into a battle of wits with the family, Berry, De Jong and the CAB team must follow the money to stop another terrorist attack. The series stars Angeline Ball, Wouter Hendrickx and Simone Kirby. It is a Saffron Moon, Facet4Media and Potemkino production for RTE, Super Channel and Acorn TV. MIPCOM PREVIEW • 79 • October 2021
Hidden Assets (DCD Rights)
Content for Sale BEYOND RIGHTS
IN RACE For The Future (3 x 60 mins), a new series created by SWR Media, adventurer James Levelle plans to travel the world to raise awareness about climate change. Levelle sets off from the UK on a 9,000-mile race against the clock to document climate messages from young people and deliver them in a film to the UN climate conference in Chile. His challenge is to travel fossil-fuel-free. He races through Europe to catch a tall ship that carries him across the Atlantic to South America. But before he can cross the continent he receives the devastating news that the Santiago climate conference has been cancelled and moved to Madrid. James then faces a seemingly impossible task.
ON THE slate from the US’ PBS International are: Muhammad Ali: A Film By Ken Burns (8 x 60 mins/4 x 120 mins/HD/UHD), profiling the three-time heavyweight boxing champion, one of the best-known figures of the 20th century; Future Of Work (3 x 60 mins/HD), providing guidance to businesses, employees and future job-seekers on how to prepare for the challenges ahead; Boeing’s Fatal Flaw (1 x 60 mins/HD), a Frontline and New York Times investigation into Boeing’s flawed 737 Max jet and the crashes that killed 346 people; Edible Insects (1 x 60. Mins/HD), which explores the insect food industry and how it could benefit health and the warming planet; and Particles Unknown (1 x 60 mins/HD), looking at Neutrinos which have long been the most mysterious particle described by physicists. Outnumbering atoms a billion to one, they are preposterously numerous, they hardly interact with anything and they puzzlingly morph between three different forms. © Monte Fresco/Mirropix via Getty Images
Race For The Future (Beyond Rights)
Muhammad Ali: A Film By Ken Burns (PBS International)
SECRETS Of The Secrets Of The Celtic Celtic Grave (1 x 46 Grave (Flame mins/1 x 84 mins) Distribution) explores how the discovery of ancient objects uncovered in Wales triggered a major archaeological investigation that revealed the grave of a Celtic warrior buried in a richly decorated chariot with other breathtaking treasures. Dated to one of the bloodiest periods of history, the Roman invasion of Britain and Queen Boudica’s revolt, the site also reveals a hill fort. This documentary follows the excavation from start to finish using the latest CGI and dramatic reconstruction. Flame also highlights Yellowstone: Super Volcanoes (1 x 90 mins/2 x 50 mins), which explores the threat of a potential super-eruption at Yellowstone, America’s most famous national park.
WAG ENTERTAINMENT brings Big & Broken: Mega Engineering Fixes (6 x 45 mins) to MIPCOM. The Wag Entertainment production celebrates the achievements of British engineering from a unique angle, exploring how constructions are mended and maintained. It focuses on famous UK landmarks including Canterbury Cathedral, concert venue The Royal Albert Hall and the world’s longest pleasure pier in Southend-onSea, on the UK’s east coast. Each episode explores the history behind each subject and gets privileged access, going on location to follow the work of engineers and maintenance teams as Big & Broken: Mega Engineering Fixes (Wag they investigate and fix problems. Entertainment)
MIPCOM PREVIEW • 80 • October 2021
Content for Sale FILMRISE
ON THE MIPCOM roster for FilmRise are: The Mediator With Ice-T (20 x 30 mins), in which Ice-T seeks resolutions between two feuding civilian parties in a court-like setting; Brave Wilderness (170 x 30 mins), in which adventurers and scientists Nathaniel Peterson, Mark Vins and Mario Aldecoa lead a variety of expeditions to dispel myths about dangerous wildlife; Dr G: Medical Examiner (83 x 60 mins), in which coroner Dr Jan Garavaglia provides explanations for mysterious causes of death; That Girl (136 x 30 mins), about an aspiring actress who tries to make it big in New York; Highway To Heaven (111 x 60 mins), featuring Michael Landon as a probationary angel sent to help people; and classic series The Dick Van Dyke Show (158 x 30 mins) starring Dick Van Dyke and Mary Tyler Moore.
AMONG the highlights of distributor New Docs’ MIPCOM line-up is The Power Of Touch (1 x 52 mins) which presents the latest scientific research into physical contact, a field that has taken on renewed relevance in times of social distancing. The opulent docu-drama Johannes Brahms – The Solitary Genius (1 x 90 mins) paints a vivid picture of the musical pursuits and private life of the 19th century composer. The political thriller The El-Masri Case re-traces the details of a German citizen’s kidnapping by the CIA in 2003. His case brought to light the CIA’s worldwide rendition programme.
Johannes Brahms – The Solitary Genius (New Docs)
WOODCUT INTERNATIONAL The Mediator With Ice-T (FilmRise)
MKMG UKRAINIAN distributor MKMG (formerly MK Media Group) introduces an interactive title during MIPCOM. She Sees Red (1 x 80 mins) is a hard-hitting thriller with four possible endings. When a person is killed inside a nightclub an experienced detective vows to put the murderer behind bars. Viewers are able to influence the course of events by choosing from a variety of plot twists and changing the story. Dubbed in English with interfaces in 19 languages, the film is released on Steam, Nintendo and AppleTV.
DISTRIBUTOR Woodcut International presents the new documentary series Forgotten War Stories (6 x 60 mins) to international buyers during MIPCOM. Forgotten War Stories looks at how between World War II and the Iraq War, Britain and its allies were embroiled in several serious conflicts around the world, many of which have been largely forgotten – including The Suez Crisis, The Bosnian War, The Gulf War, The Korean War, The Malayan Emergency and The Mau Mau Uprising in Kenya. From how Britain and France planned to take back control of the Suez Canal, to the civil war which broke out in Bosnia when Yugoslavia broke up in 1992, and how Operation Desert Storm became one of the first conflicts to be televised, these events are explored alongside personal stories and input from historians, experts and eyewitnesses.
She Sees Red (MKMG)
Forgotten War Stories (Woodcut International)
MIPCOM PREVIEW • 81 • October 2021
Content for Sale DFW INTERNATIONAL
ALBATROSS WORLD SALES
At MIPCOM, Dutch distributor DFW International presents the first episodes of two upcoming documentary series. In The Art Dispute (8 x 45 mins) each episode focuses on a looted art object. The historical legacy and the objects’ current locations are examined, and the question of where treasures from the past belong now is discussed. Voices Of Liberation (11 x 50 mins) explores the liberation of Europe after WWII via personal stories of famous WWII descendants, including Thomas Brodie-Sangster, Christian Berkel and Sarah Kaminsky. The series also includes a wealth of footage, letters and diaries.
ALBATROSS World Sales’ MIPCOM UHD documentary line-up includes: New Land – The Islands Of Marker Wadden (1 x 52 mins), which examines the extensive human effort to turn one of the Netherland’s largest man-made lakes back into a natural habitat after the previous destruction of the region’s ecosystem; Zoo Life (2 x 52 mins), which explores the everyday life of zoo animals; Jewels Of The Alps – Italy’s Great Lakes (5 x 52 mins); and Magpies – More Than Black And White (1 x 43 mins), which looks at the lesser-known traits of these birds, including their surprising social life and impressive intelligence.
New Land – The Islands Of Marker Wadden (Albatross World Sales)
The Art Dispute (DFW International)
© Cocotte minutes
BETA Film returns to MIPCOM with a varied catalogue of European drama. La Fortuna (6 x 60 mins) from Movistar+/ AMC Studios, starring Stanley Tucci, is a visually stunning series inspired by the story of the recovery of one of the oceans’ biggest treasures. Set at the Italian Riviera, the period drama Hotel Portofino (6 x 60 mins), starring Natascha McElhone, revolves around a British family that opens a high-end hotel in the traumatic aftermath of WWI. Sisi (6 x 60 mins) is the true coming-of-age story about the legendary Empress. And, the thriller Faster Than Fear (6 x 60 mins) follows a young detective returning to work and facing her darkest fears, at the same time as a killer who targets women is on the run.
TWO WILDLIFE series on the MIPCOM slate for Paris-based Terranoa – Animal Democracy (2 x 52 mins) and Animal Construction (3 x 52 mins) – capture never-before-seen animal behaviour on film. The company also brings 90-minute primetime film Children Of Chaos, shedding light on an obscure post-war story of orphan children who became spoils of war in the hands of the US. The series After Chaos also looks at postwar reconstruction efforts, focusing on four European cities razed to the ground during the war. With striking 3D animated archive material it shows how Berlin, London, Le Havre and Warsaw reinvented themselves. Finish Your Plate! (6 x 26 mins) explores the origins of food culture and eating habits. From the crime and investigation genre, If You Kill, Call Me offers rare insights into the life of lawyers in the drug world.
La Fortuna (Beta Film)
Animal Democracy (Terranoa)
MIPCOM PREVIEW • 82 • October 2021
Content for Sale JUST FOR LAUGHS
HUMOUR Resources (6 x 30 mins) follows Jon Dore as a retired comedian turned human resources manager for the comedy business. Jon meets with comedians to evaluate and consult on the appropriateness of their material and overall workplace behaviour. Just For Laughs Gags (222 x 30 mins) is the longest running prank show, with a new season of 13 x 30 mins episodes. Festival specials include Howie Mandel (1 x 90 mins), Jon Dore (8 x 30 mins), Rick Mercer (4 x 60 mins), Simon Gouache (1 x 60 min), Wanda Sykes (1 x 60 mins), and two new specials with DeAnne Smith and Sophie Buddle (2 x 30 mins), among others. Humour Resources (Just For Laughs)
NEW DISTRIBUTOR WildBear International has two natural-history titles spearheading its inaugural MIPCOM slate. Under The Sea (4 x 60 mins) is a narration-driven series that immerses viewers in an underwater playground filled with fascinating marine animals, from the massive to the microscopic. World’s Most Toxic Animals (2 x 60 mins) takes a closeup look at some of the world’s most toxic creatures to understand how they target their victims, what chemistry they use to tailor attacks and what humans can do to best survive a deadly encounter. Both series are produced by WildBear Entertainment. Under The Sea (WildBear International)
ABACUS MEDIA RIGHTS
SORT Of (8 x 30 mins), brought to MIPCOM by Abacus Media Rights, is a comedy that features Sabi (played by Bilal Baig), a fluid millennial who straddles various identities from bartender at an LGBTQ+ bookstore and bar, to the youngest child in a large Pakistani family, to the de facto parent of a hipster family. When Sabi’s best friend 7ven presents them with an opportunity to live in the “queerest place in the galaxy”, Sabi makes the decision to stay and care for the children they nanny after their mom has a serious bike accident. Sort Of (Abacus Media Rights)
THE COUPLE, a dating show named Occupation Double in its original French-Canadian version, is brought to the international market by Montreal’s Productions Toros. The groups of men and women live separately in two neighbouring luxury homes, with cameras filming 24/7. They meet up for adventures, parties and trips and each week there is an elimination dinner. In the end one couple wins hundreds of thousands of dollars, and prizes including a new home to start their The Couple (Productions Toros) life together.
STUDIOCANAL STUDIOCANAL introduces All Those Things We Never Said (10 x 30 mins), based on a novel by Marc Levy. Cleverly playing across two timelines and set in the beautiful European cities of Paris, Bruges, Berlin and Madrid, the story features Julia, who has had a difficult relationship with her father. Days before her wedding she receives a call to say her father has died. The day after his funeral, a crate arrives enclosing a life-size android carbon copy of her father. The android contains her father’s memories and a battery life of seven days. He persuades Julia to embark on a road trip, as father and daughter. The journey becomes a quest to find Julia’s first love, a journalist who she believed was killed on assignment. The series stars Jean Reno and Alexandra Maria Lara. MIPCOM PREVIEW • 83 • October 2021
All Those Things We Never Said (Studiocanal)
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Content for Sale ABOUT PREMIUM CONTENT (APC)
SCRIPTED highlights from Paris-based APC include: Italian-language drama Ever After (6 x 52 mins), about a couple who are in a bitter custody battle for their young son; French-language political thriller Pandore (10 x 52 mins), set in Belgium; quirky Icelandic drama Blackport (8 x 52 mins), set in the fishing industry; and French-language Swiss comedy Lucky Day (8 x 45 mins), about a lottery win in a dysfunctional family. APC also introduces two timely documentaries during MIPCOM: Wanted: Women In Science (1 x 52 mins), showing how women are under-represented in science; and The Water Guardians (4 x 52 mins), a nature and ecology documentary series addressing the global issue of water scarcity through stories of people who have been working to preserve or discovEver After (APC) er sources of water.
LONDON-based Rainmaker Content highlights two series at MIPCOM. Professionals (10 x 60 mins) is set against a backdrop of international espionage and corporate sabotage in the 21st century’s privately funded space race. After their advanced medical satellite explodes, a billionaire futurist and his medical visionary partner turn to a hardened former counter-intelligence officer to assemble a team of professionals to investigate the incident. Thunder In My Heart (8 x 30 mins), starring Swedish actress and singer Amy Deasismont, is a coming-of-age story of friends striving to meet the demands of adult life while coming to terms with their own identities, pasts Professionals (Rainmaker Content) and passions.
WEST ONE INTERNATIONAL LINEUP INDUSTRIES DUTCH distributor Lineup Industries comes to MIPCOM with entertainment format Look Back In Laughter. In each episode, the nation’s best comedians tackle a different theme. The original 10-part series launched last year on Israeli public broadcaster KAN and has been recently commissioned for a second season. Lineup Industries holds worldwide distribution rights Look Back In Laughter (Lineup Industries) to the format.
MURDEROUS History (6 x 45 mins) is a documentary from Warehouse 51 Productions, with The Smithsonian Channel, Canal + and Viasat World, brought to Cannes by the UK’s West One. The investigative series looks at history through the lens of crime. From Germany’s Nazi Ripper to Chicago’s White City Devil and Rio’s Playboy Killers, Murderous History explores some of history’s most shocking crimes to reveal the truth behind the headlines. Murderous History (West One International)
THE TELEVISION SYNDICATION COMPANY (TVS) TVS BRINGS a range of new programming from its catalogue during MIPCOM. Wild Travels (18 x 30 mins) goes off the beaten path to seek out the unusual, eccentric and quirky people, places and events across America. Two one-hour specials, Wild Travels: America’s Oddest Museums and Wild Travels: America’s Most Unusual Festivals are also available. In the historical documentary genre, TVS has acquired three one-hour docs revealing previously untold stories from World War II along with a one-hour documentary about a little-known shipwreck that claimed 844 lives. When The Bands Stopped Playing (1 x 60 mins) features stories from musical artists of how they’ve survived the COVID-19 pandemic.
Wild Travels: America’s Most Unusual Festivals (TVS)
MIPCOM PREVIEW • 85 • October 2021
Content for Sale BLUE ANT INTERNATIONAL
BATTLE Of The Alphas (12 × 30 mins/4K/HD) is an in-depth look at animal conflict and competition. From turf wars, to food fights, to mating, nature is all about competition and the battle for supremacy. The Canadian distributor also debuts Spirit To Soar (1 x 60 mins/HD), inspired by Tanya Talaga’s book, Seven Fallen Feathers. The documentary examines the search for the truth about seven students who died or went missing in a Northern Canadian city, revealing shocking complacency and racism.
DISTRIBUTION360’s new slate is spearheaded by a competition series and format, Race Against The Tide (10 x 30 mins), created by marblemedia for CBC. On the shores of the Bay of Fundy in Canada, home to the highest tide in the world, 10 world-class sand-sculpting teams are put to the test as they compete for the chance to win the grand prize. Each episode they carve extraordinary sculptures entirely made from sand, looking to avoid elimination. Not only are they competing against each other, they are racing against the ticking clock of the tide.
Race Against The Tide (Distribution360)
BOSSANOVA Battle Of The Alphas (Blue Ant International)
ZDF ENTERPRISES THE WINDOW (10 x 45 mins) is a drama set in the world of elite professional soccer. The series begins at the end of the English soccer season and charts one summer in the life of a 17-yearold player who is on the wish list of every club in Europe. Other drama titles from the German distributor include Agatha Christie’s Hjerson (8 x 44 mins/4 x 88 mins), marking the first time a Christie character has had a TV spin-off, about Hercule Poirot’s friend Ariadne Oliver, a mystery crime writer, who has her own master detective, Scandinavian sleuth Sven Hjerson. Other drama titles include: Before We Die (6 x 52 mins), based on the eponymous Swedish noir series; and Sherlock: The Russian Chronicles (8 x 50 mins). Factual titles include: Rescued Chimpanzees Of The Congo With Jane Goodall (5 x 50 mins/1 x 50 mins); Underworld (5 x 50 mins), following an expedition team exploring spectacular caves; and Ancient Superstructures 2 (7 x 50 mins/4K/UHD). The Window (ZDF Enterprises)
BOSSANOVA presents Decades That Defined Us (3 x 60 mins) to international buyers in Cannes. This series takes a journey through the 1960s, 1970s and 1980s, with archive footage and recorded testimony, examining a period when empires collapsed and countries gained independence for the first time in centuries. The world divided into two, as the Cold War left billions living in fear of nuclear annihilation and protests forced a radical rethink in how people are treated based on their race and gender.
Decades That Defined Us (BossaNova)
MIPCOM PREVIEW • 87 • October 2021
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Content for Sale FEDERATION ENTERTAINMENT
AT MIPCOM Federation is launching drama series Don’t Leave Me (8 x 52 mins), produced by Paypermoon Italia and Rai Fiction. Elena is a policewoman in Rome specialising in computer crimes and child pornography. A new case sees her return to her hometown, Venice, where she meets her former love, now deputy commissioner of the Homicide Squad. Another priority is the adaptation of Jules Verne’s Around The World In 80 Days, starring David Tennant and co-produced by Slim Film + Television and Federation Entertainment for the European Alliance formed by France Televisions in France, ZDF in Germany and RAI in Italy. Other dramas include: murder anthology A French Case (6 x 52 ins); Son Of (8 x 45 mins), set in Brussels’ criminal underworld; family tragedy Wake Up My Love (6 x 52 mins); and Finnish comedy Mister 8 (8 x 52 mins). Documentaries include: Nadia (1 x 90 mins), about a former Afghan refugee who became a player PSG; Arsene Wenger Invincible (1 x 90 mins); and Match #664 – The Algorithm Of Love (1 x 90 ins), about dating sites.
CANADA’s Corus Studios brings a range of lifestyle and factual programming to Cannes, including: Gut Job (8 x 60 mins), featuring professional-athlete-turned-builder Sebastian Clovis on a mission to guide homeowners through big renovations; Pamela Anderson’s Home Reno Project (working title) (8 x 60 mins), about the massive renovation of Anderson’s grandmother’s property; Styled (working title) (8 x 60 mins), tracking the renovation adventures of dynamic design duo Nicole Babb and Caffery VanHorne; Scott’s Own Vacation House Rules (4 x 60 mins), in which Scott McGillivray puts his Vacation House Rules to the test on his own cottage project; Wall Of Bakers (10 x 60 mins), a spin-off of the star-studded competition series Wall Of Chefs, a format that tests the skills of Canada’s home bakers; and Lost Cars (6 x 60 mins), a new series in which enthusiasts go to remote areas in search of rare Gut Job (Corus Studios) classic cars.
Don’t Leave Me (Federation Entertainment)
RAYA GROUP ISTANBUL-based Raya Group brings an epic series to Cannes, The Sultan & Khan. The stories are set in a time when the Khwarazmshah and the Mongol Empire are the two most powerful forces. On the Khwarazmshah throne sits the Sultan Alaeddin, who believes that Genghis Khan’s plan is to subjugate the whole world after his attack on the Chinese Empire. His troubles are increased by his brother — desiring the throne for himself — who is also an obstacle constantly in The Sultan & Khan (Raya Group) his way.
MISTCO, brings a slate of dramas to the international market. A highlight is The Innocents (128 x 45 mins), about a family that struggles against the challenges of their childhood traumas. Further titles from the Turkish distributor include: action series The Shadow Team (44 x 45 mins), the story of seven patriots who sacrifice their lives for their country; The Great Seljuks: Guardians Of Justice (120 x 45 mins), an epic historical drama comprising love, secrets and struggles; Rafadan: Gobeklitepe (1 x 95 mins), an animation franchise that encompasses a TV series, merchandising and musical shows, as well as the film. The Innocents (Mistco)
MIPCOM PREVIEW • 89 • October 2021
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Content for Sale VIACOMCBS GLOBAL DISTRIBUTION GROUP ONE-HOUR criminal investigation series top the MIPCOM roster for ViacomCBS. CSI: Vegas, the sequel to the network’s global hit CSI: Crime Scene Investigation, opens a new chapter in Las Vegas — the city where it all began — with a new team of investigators led by Maxine Roby, played by Paula Newsome, who must enlist the help of familiar characters to preserve and serve justice. NCIS: Hawai’i follows the first female Special Agent in charge of NCIS Pearl Harbor. FBI: International is the third iteration of the successful FBI brand that follows the elite operatives of the FBI’s International Fly Team. Headquartered in Budapest, they travel the world with the mission of tracking and neutralising threats against AmeriCSI: Vegas (ViacomCBS Global Distribution Group) can citizens.
POINT DU JOUR INTERNATIONAL POINT du Jour International handles distribution and presales of documentaries produced by Point du Jour, Les films du Balibari as well as from third-party producers. New documentaries include Children Of Las Brisas (1 x 75 mins/55 mins), about young children living in the Venezuelan neighbourhood of Las Brisas, a poor and very dangerous part of the city. Moscow 1996, Vote Or Lose! (1 x 52 mins) follows Boris Yeltsin as he prepares to run for a second presidency of the young Russian Federation. Vaccine Geopolitics (1 x 52 mins) is an investigation of the COVAX system, its donors, the health and political authorities in the US, the EU, and in Russia. Latin Noir (1 x 52 mins), is about how in the 1970s a new generation of Latin American writers reinvented the crime novel genre as a means to denounce the atrocities committed by authorities. Antoine The Fortunate, At the Crossroads Of Empires (1 x 52 mins), explores the creation of modern Turkey.
Children Of Las Brisas (Point du Jour International)
BANIJAY RIGHTS BANIJAY’s extensive catalogue includes drama A Class Apart (8 x 60 mins), set in Sweden’s top ranked boarding school where there is a secret society for the super-rich. On the night of the new semester a selected few indulge in the initiation of two new members. The following morning, one of them is found dead. Other titles include: the eighth season of Survivor Australia (7 x 60 mins + 17 x 90 mins); the second Australian season of SAS: Who Dares Wins (12 x 60 mins + 2 x 120 mins); the seventh and eighth 6 x 60 mins seasons of Ambulance; the reboot of Beauty And The Geek (8 x 60 mins + 4 x 90 mins); competition format Domino Challenge; the sixth series of drama Grantchester (8 x 60 mins); drama RFDS: Royal Flying Doctor Service (8 x 60 mins); the 15th season of The Block (37 x 60 mins + 14 x 90 mins); and the return of music competition format A Class Apart (Banijay Rights) Popstars.
ZED ZED PUTS the focus on wildlife issues and the environment at MIPCOM. The Paris-based company is launching Back To The Wild (2 x 52 mins/4K), looking at changing animal behaviours following the unusually reduced human mobility during the pandemic. ZED is also producing Wild Corridors (4 x 43 mins), a series about innovative experiments to restore natural passages through which animals must travel, in an attempt to encourage peaceful cohabitation. ZED also highlights Nature’s Survivors (1 x 52 mins/4K), focusing on the consequences of climate change on wildlife, and how animals cope with the whims of nature and even turn natural disasters to Nature’s Survivors (ZED) their advantage.
MIPCOM PREVIEW • 91 • October 2021
Content for Sale KO DISTRIBUTION/KOTV JUDGEMENT Call is a quiz-show format featuring four celebrities, two contestants and surprising questions that test how people perceive the behaviours of favourite celebrities. Further titles from the Quebecois distributor include: two seasons of Perfect Storm (26 x 30 ins), about a single mother of three children, who has to deal with her newly retired mother, her ex and her friends who are trying to find her a man; and two seasons of Pillow Talk (32 x 30 mins), a sketch comedy featuring the daily life of four couples and two roommates.
Judgement Call (KOTV)
MUSE Distribution International’s diverse catalogue includes over 400 hours of programming including The Kennedys (8 x 60 mins), TUT (6 x 60 mins), The Kennedys: After Camelot (4 x 60 mins), among other drama, romantic and Christmas movies, comedy and youth series, as well as documentaries. Muse Distribution is also offering mystery franchise the Aurora Teagarden Mysteries (18 x 120 mins), starring Candace Cameron Bure. Based on Charlaine Harris’ novels, they follow librarian Aurora Teagarden, lover of mystery novels and member of the Real Murders Club, who unexpectedly finds herself solving real life murders in her small town. In Til Death Do Us Part: An Aurora Teagarden Mystery, the 16th movie of the franchise, a body is discovered just days before Aurora’s wedding to Nick. Fearing her father may be a suspect, Aurora and Nick race to solve the cold case before they walk down Til Death Do Us Part: An Aurora Teagarden the aisle. Mystery (Muse Distribution International)
DRAMA tops the slate for Paris-based Mediawan Rights. Maneater (6 x 52 mins), starring Irina Rozanova, is the Russian remake of TF1’s hit La Mante. The company also brings the adaptation of Michel Houellebecq’s book The Elementary Particles (2 x 52 mins), produced by Storia Television and Incognita for France 2. For The Record (6 x 18 mins) features an interconnected cast of characters inspired by the music that underscores the pivotal moments in their lives, with an iconic song from Universal Music’s catalogue as the centrepiece for each episode. The comedy thriller Monterossi (6 x 52 mins) is about a television writer embroiled in criminal events. And the psychological thriller Manipulations (8 x 52 mins) stars Marine Delterme as a woman who falls in love with her seemingly perfect soul mate. Or is he?
Maneater (Mediawan Rights)
MUSE DISTRIBUTION INTERNATIONAL
US DISTRIBUTOR Principal Media’s priorities for MIPCOM include: four seasons of United Plates Of America (52 x 30 mins), featuring host Gary Takle who travels across the US to discover the underlying food culture that exists in every town. Other shows include: five seasons of Million Dollar House Hunters (65 x 30 mins), following people as they search for their perfect luxury home; and Rock Camp: The Movie (1 x 90 mins), featuring Rock ‘n’ Roll Fantasy Camp, where dreamers jam with, and learn from, rock heroes from bands, including Aerosmith, Heart, The Who and Kiss.
United Plates Of America (Principal Media)
MIPJUNIOR PREVIEW • 92 • October 2021
Content for Sale RED ARROW STUDIOS INTERNATIONAL (RASI) BLACKOUT: Tomorrow Is Too Late (6 x 45 mins) is a new thriller series that tops the priority list for RASI at MIPCOM. On a cold November night a fatal chain reaction in the European power grid plunges the continent into darkness. While the authorities fight to control the impact, one man in Italy, former hacker Pierre Manzano, realises that a malicious code he wrote nearly 20 years ago during the 2001 G8 riots is to blame. As he tries to warn the power companies that they are under attack, he attracts the attention of Europol and the CID, who make him a subject of their investigation. In Germany meanwhile, Frauke Michelsen heads the country’s crisis response team. When her eight-year-old twin daughters go missing, she is torn between managing the spiralling incidents and her own personal challenges.
Blackout: Tomorrow Is Too Late (Red Arrows Studios International)
PULSE (6 x 52 mins), a horror/thriller series brought to Cannes by Media Musketeers, is a co-production between Media Musketeers, Forlan Films, Mnet and Media Pro. The drama commences when an electromagnetic pulse bomb turns a secure building into a psychotic battlefield, trapping an international group of young game creators. They have to use the survival skills honed while creating their Pulse game in order to escape the imploding and now crumbling building whose other occupants are becoming dangerously psychotic. Filming of the series begins in Mauritius during later this year, with delivery scheduled for the second quarter of 2022.
THE LATEST roster from LA-based Electric Entertainment includes: Leverage: Redemption (16 x 60 mins), featuring the Hitter, the Hacker, the Grifter and the Thief, who together with help from a new tech genius and corporate fixer, take on a range of villains; To The Lake (8 x 60 mins), about a dangerous journey to find an isolated lodge on a deserted island after a virus strikes Moscow; Almost Paradise (10 x 60 mins), about a retired US DEA agent in the Philippines who, against doctor’s orders, uses his skills to put away criminals; four seasons of fantasy series The Outpost; and The Fight That Never Ends (1 x 95 mins), the true story of a Jewish woman and a gang leader who fall in love fighting racial injustice during the LA riots in the 1990s.
Pulse (Media Musketeers)
Leverage: Redemption (Electric Entertainment)
SYNCHRONICITY FILMS SYNCHRONICITY Films is co-producing a new YA scripted series, One Word Kill, with Wild Sheep, the LA-based production company set up last year by the former Netflix vice-president of Original Series, Erik Barmack. Writer Holly Phillips is on board to adapt the trilogy of books of the same name, written by British-American fantasy writer Mark Lawrence. One Word Kill begins when 15-year-old boy genius Nick Hayes discovers he’s
dying. Nick and his Dungeons & Dragons-playing friends are used to living in their imaginations, but when a new girl, Mia, joins the group, reality becomes weirder than their fantasy world. A strange, yet curiously familiar, man is following Nick. This man reveals a cryptic message: Mia is in grave danger, though she doesn’t know it yet. Nick finds himself in a race against time to unravel an impossible mystery and save the girl.
MIPCOM PREVIEW • 93 • October 2021
Content for Sale GLOBAL AGENCY
TURKISH format specialist Global Agency highlights Blind Duets during MIPCOM. The show brings four celebrity singers in the jury together to perform with 12 contestants. The identity of each contestant, hidden in cabinets in the studio, is only revealed when a jury member chooses them and they emerge to perform on stage with the celebrity. Each jury member sings three songs with the contestants and the highest scoring celebrity summons their partners to perform as a trio to decide the overall winner. Viewers can enjoy the singing — and also the rivalry between the jury members. Blind Duets (Global Agency)
GAUMONT Television, with offices in Paris, LA, Berlin, Cologne and London, has a vast MIPCOM catalogue, including two new drama series. Nona And Her Daughters (9 x 30 mins), set in modern-day Paris, features 70-year-old Nona, a mother of three daughters who lives life to the full, in the heart of the Parisian neighbourhood of Goutte d’Or — until doctor Truffe tells her that she is pregnant. What Pauline Isn’t Telling You (4 x 60 mins) is about a mother of two who is separated from her husband — who is killed in what seems to be an accident. The Police Adjutant and Examining Magistrate investigate, putting Pauline potentially Nona And Her Daughters (Gaumont Television) in the frame.
ARMENIAN PUBLIC TV THE MAJORITY of the dramas in the catalogue from Armenian Public TV are based on best-selling Armenian novels. A highlight for MIPCOM is For The Sake Of Honor, in which millionaire Elizbarov lives a peaceful life with his wife and children until everything changes when Otaryan, the son of Elizbarov’s partner in business, comes on the scene. Otaryan is expecting to find out the circumstances of his father’s death and loss of the family property. Elizbarov’s daughter, who is a lawyer, helps Otaryan seek justice, not knowing that her father is conFor The Sake Of Honor (Armenian Public TV) nected.
BOAT ROCKER STUDIOS MARY Makes It Easy (25 x 30 mins) features Mary Berg — one of Canada’s leading culinary experts and host of Mary’s Kitchen Crush — filmed in her own home in Toronto, sharing tips, tricks and recipes to solve everyday cooking conundrums. Another highlight is Weeks Of War – WWII Headlines From The Frontlines And Beyond (8 x 48 mins). By analysing the events in 41 critical weeks of World War II, the series explores how people lived and survived during the most devastating conflict the world has ever seen, using archival footage and expert insights.
Mary Makes It Easy (Boat Rocker Studios)
ENCORE INTERNATIONAL MONTREAL-based Encore International launches its new drama series C’est La Vie (24 x 45 mins) at MIPCOM. The series follows the Thomas family whose lives are completely up-ended when an unforeseen event forces each family member to question themselves. Another show from Encore is Dark Soul (6 x 45 mins), a powerful series which follows the quest of a family trying to understand what pushed one of them, a 16-year-old boy, to shoot some of his classmates and take his own life. MIPJUNIOR PREVIEW • 94 • October 2021
C’est La Vie (Encore International)
Content for Sale AMC STUDIOS
A HIGHLIGHT from AMC Studios’ extensive MIPCOM catalogue is a stop-motion animated drama series, Ultra City Smiths (6 x 30 mins). Featuring a star-studded voice cast, the series hinges on an investigation into the mysterious disappearance of fictional metropolis Ultra City’s most famous magnate. Two intrepid detectives follow the case, rallying to fight against dangerous corruption in their city. The company also brings: Before We Was We: Madness By Madness, a biographical series about the 40-year career of the British band; 61st Street (16 x 60 mins), about a promising black high-school athlete swept up into the infamously corrupt Chicago criminal justice system; Pantheon (16 x 30 mins), an animation series based on a collection of short stories from Ken Liu about human consciousness uploaded to the cloud; sci-fi thriller Moonhaven (6 x 60 mins); two horror anthologies, Slasher: Flesh & Blood (8 x 60 mins) and Horror Noire (1 x 132 mins/6 x 60 mins); and two true-crime documentary series, Indefensible (6 x 30 mins) and It Couldn’t Happen Here (6 x 60 mins). Ultra City Smiths (AMC Studios)
RUSSIA’s Igmar introduces two titles devoted to the topic of the recent pandemic to international buyers. Web series Panacea focuses on the very start of the pandemic, when information was inconsistent and the air was full of a fear of the unknown. Against this backdrop some people were actively trying to find a cure by all available means. The second title is a feature film, 5 Weeks. The story looks at how the pandemic unfolded from the point of one couple stuck in an apartment for a period of quarantine.
GUTSY ANIMATIONS HELSINKI-based Gutsy Animations brings its first adult-targeted drama series, Beyond Nature (6 x 50 mins), to the international market. The UK production company Lime Pictures has been brought on board to co-produce the English-language psychological thriller, which will blend live-action with CG animation. Beyond Nature follows the brilliant but struggling artist Stella who, when her mother dies, returns from England to Lapland. The beautiful nature of Lapland sparks visions that only she can see and she is compelled to draw images of a Nordic mythological creature. The more Stella paints, the closer she gets to painful memories, and then men around her start to die suddenly. Beyond Nature is currently in development and set to be delivered in Beyond Nature (Gutsy Animations) 2022.
PINNACLE PEAK PICTURES BEVERLEY Hills-based Pinnacle Peak Pictures presents a brand new slate of films at MIPCOM. Highlights include: Love On The Rock, an action/adventure movie shot in Malta, featuring Jon Lovitz, David A R White, Steven Bauer and Jeff Fahey. Romantic titles include Finding Love In Quarantine, starring Eva LaRue and David A R White; Love Is On The Air; and Banking On Christmas. Pinnacle Peak is also bringing to the market Man Of God, starring Mickey Rourke and Alexander Petrov; and Walking With Herb, starring Edward James Olmos, Kathleen Quinlan Love On The Rock (Pinnacle Peak Pictures) and George Lopez.
START START’s headline from its slate of original drama is The Vampires Of Midland (8 x 52 mins), a detective series about a family of vampires. Though they do not kill humans, their peaceful lives come under threat when a bunch of lifeless corpses turn up near their home. Mediator (16 x 52 mins) is a psychological thriller about a professional negotiator coming under constant strain. Mystery drama series Passengers (8 x 20 mins) follows a cab driver whose job is to deliver his clients to the afterlife.
MIPJUNIOR PREVIEW • 95 • October 2021
Your MIPCOM Experience
COMING TO CANNES? READ MORE TO MAKE THE MOST OF YOUR ONSITE MIPCOM EXPERIENCE
We look forward to welcoming you back. MIPCOM / MIPJUNIOR 11-14 OCTOBER 2021 - Palais des Festivals, Cannes, France From 11th to 13th October: 8:00 - 19:00 October 14th: 8:00 - 17:00
EXCLUSIVELY IN CANNES MIP WORKOUTS Small group conversations led by experts to solve challenges in everyday business, using collective intelligence (limited capacity, first come-first served).
NETWORKING EVENTS AND CELEBRATIONS The luminous Riviera 8 Hall, a multipurpose events venue, is sufficiently spacious to accommodate the MIPCOM Opening Party, the Women in Global Entertainment Lunch and a series of conference-led formats.
PRODUCTION FUNDING FORUM In the wake of global upheavals, discover what world-leading streamers and broadcasters look for to address audiences’ evolving needs, and find new ways to source funding and investment partners for your projects.
PROJECT PITCH MIPJUNIOR A unique pitching competition, highlighting new Kids TV projects with the greatest potential for commissioning and multiplatform extension. Dedicated to all creators and producers seeking financing for KIDS projects in development.
• Sunday 10 October
Attend exclusive World Premieres in partnership with 18:00 Grand Auditorium Louis Lumière
• Catch-up for CANNESERIES for buyers
Access to the CANNESERIES Season 4 Official Selection via Digital MIPCOM and/or FESTIVALSCOPE
mipjunior Part of the kids community? The 5th floor of the Palais is dedicated to you with a full day’s programme and market intelligence.
MEDIA CENTRE The Media Centre in partnership with can be found in the Harbour station. A dedicated space offering interview rooms, press conferences, photocalls, a comfortable lounge area and editorial space. The MIPCOM and CANNESERIES press teams will be onsite to welcome and assist you.
LOUNGES Lounges and workspaces are available in the exhibition halls and terrace spaces. A complimentary coffee and soft drink service is available.
BUSINESS CENTRE A business centre can be found on the 4th floor of the Palais des Festivals offering photocopying, computers and office services.
CONCIERGE SERVICE Our staff at the Welcome Desk are at hand to assist you with any questions concerning your stay, comfort, tourism and transportation during MIPCOM/MIPJunior.
LEFT LUGGAGE You can leave your suitcases and boxes in our dedicated space for easier access and mobility.
MIPCOM PREVIEW • 96 • October 2021 MIPCOM_experience.indd 1
Your MIPCOM Experience
PREPARE FOR MIPCOM AND MIPJUNIOR IN ADVANCE SAFETY MEASURES
CONNECT WITH THE MIPCOM / MIPJUNIOR COMMUNITY BEFORE, DURING AND AFTER THE EVENT
The safety of our clients, partners and staff being our priority, all measures have been defined in accordance with the Sanitary Protocol of the event industry, the standards of RX France and the recommendations of the WHO. These measures are likely to evolve depending on the health context and rules imposed by French authorities. We are in frequent contact with health and local authorities.
• Visit the digital platform (email login details sent via email) • Create your profile: the more details you share the better and sharing your business objectives will help recommendations • Browse participants and build your personal wishlist • Start chatting • Organise business meetings for the MIPCOM week • Continue conversations with contacts online until 30 Nov • Review sessions and access exclusive reports • Discover programmes and projects from around the world as well as a selection made by Glance, our content insights partner.
YOUR BADGE Print your badge prior to arrival
Per application of current French sanitary regulations, access to our events for all participants will be subject to presentation of a valid sanitary pass. A coloured bracelet will ensure quick access per day once your pass has been shown.
Your MIPCOM/MIPJunior badge will be emailed to you in advance. Remember to check the email account that you registered with.
Covid Test center opening times
Avoid queues onsite, your badge can be printed on any printer at your home, office, hotel or apartment.
Monday 11 October: 08:00 - 21:00
Sunday 10 October: 09:00 - 18:00 Tuesday 12 October / Wednesday 13 October: 08:00 - 18:00
If you are unable to print, please go to Registration upon your arrival. Lanyards and badge holders will also be available to collect onsite.
Thursday 14 October: 08:00 - 14:00
Left Luggage Badge holders only
- Esterel Theatre
- Exhibition Hall - Auditorium K - Business Centre
- Honorat - Marguerite - Agora
Lanyard recycling point
Hand sanitising station tra nc
- Exhibition Hall - Auditorium A
Exhibition Hall & Riviera Lounge
Entrance No° 1
- Grand Auditorium Louis Lumière - Debussy Theatre
Access to Riviera 7 & 8
Covid testing centre C16 Entrance No° 2 2
4 Entrance No° 4
Palais 0 to 5
• Fixed rate taxi booking of 82€ for up to 4 passengers, from Nice airport to Cannes (incl. motorway tax). • The best deals with our partner hotels and discounts with a selection of restaurants and shopping.
& Grand Auditorium Louis Lumière
3 Entrance No° 3
- Help Desk - Members' Desk - Concierge Service
• Attractive discounts with our partners Air France - KLM Global Meetings using discount code; 37459AF
Media Centre with
Majestic Hotel La C roise
REGISTRATION HOURS 10 October: 14:00-19:30 11 October: 7:30-19:30 12 & 13 October: 8:00-19:00 14 October: 8:00-16:00
MIPCOM PREVIEW • 97 • October 2021 MIPCOM_experience.indd 2
Preview October 2021 www.mipcom.com
// DIRECTOR OF PUBLICATIONS // Michel Filzi / EDITORIAL DEPARTMENT / Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Contributors Andy Fry, Gary Smith Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres / PRODUCTION DEPARTMENT / Publishing Director Martin Screpel Publishing Managers Emilie Lambert , Amrane Lamiri Creation and Production Officer Yovana Filipovic Printer Riccobono Imprimeurs, Le Muy (France) / MANAGEMENT & SALES TEAM /
Director of the Entertainment Division Jérôme Delhaye – MIPTV Director Lucy Smith Conference and Content Director Amandine Cassi Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of MIP Cancun, Director of Buyers Strategy - MIP Markets Bénédicte Touchard de Morant Senior Conference Manager Julie Lechenault TV Division Sales Director Geraud de Lacombe UK Sales Director Vanessa Van Santen-Smith Director UK Sales Music & TV Division Javier Lopez UK Sales Manager Jill Casserley SVP Sales & Business Development Robert Marking VP Sales Louis Hillelson Sales Director Manuel de Sousa Director of Visitors Sales North and Latin America Matthew Rosenstein Sales Manager Noah Buchwald Sales & Planning Director TV Division, MIP Markets Sylvain Faureau Sales Director Aude Dionnet Sales Director Peggy Voutyras Sales Managers Paul Barbaro, Nancy Denole, Samira Haddi, Cyril Szczerbakow, Hicran Lefort, Pascale Lallemand Director of Buyer Relations Yi-Ping Gerard Sales Executive, Buyers Alexandre Collet Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao, Kristian Kender CIS Representatives Alexandra Modestova Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Yael Scop Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Spain Representative Maria Jose Vadillo South Korea Representative Sunny Kim Taiwan Representative Irene Liu
RX France, a French joint stock company with a capital of 90,000,000 euros, having its registered offices at 52 Quai de Dion Bouton 92800 Puteaux, France, registered with the Nanterre Trade and Companies Register under n°410 219 364 - VAT number: FR92 410 219 364. Contents © 2021, RX France Market Publications. Printed on PEFC certified paper.
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