Prensario Mipcom 2022

Mipcom 2022: tips & trends for a better market

Mipcom 2022 is again a full content event, for the first time since the pandemic. Everybody was expecting this moment. Though the post covid times are with less volume and austerity, now we’ll see what the industry has to show, all together. Some surprises and twists may appear. What tip & trends can be mentioned, for a start?

About the event itself, on one side we can say that Mipcom will be very strong but following the main rules of the post pandemic times: less volume, less budgets, lower profiles. People learnt during the blackouts that many stereotypes can be avoided, that many things can be done on the distance. But one the other side, industry people are eager to join again and do business, all recent events were very healthy. The networking of the events can’t be replaced, was another masterclass of the pandemic. And especially at Mipcom.

So, from traditional 12.000 Mipcom attendees, we could expect 65/70% attending and 30/35% staying at home. This is not bad for the event: some less people but most of everybody important, make the market better, time more productive. The post pandemic times push a natural depuration of business.

About product trends this year, globally it is clear that broadcasters prefer entertainment formats, to handle local content which is their main arm vs. OTT platforms. In fictions, the main US studio trend is internationalization: if in the past most of the new shows were for US networks, now at least half are produced for overseas partners, mainly Europe. About genres, we saw that mainly thrillers, crime dramas, procedural, supernatural plots for young audiences, global comedies are the most requested options.

Specific trends about Europe? Many broadcasters and producers see that the OTT bubble is beginning to explode, with important budget and production reductions. On the opposite, the ‘generalistic TV’ is better, because it is more stable in these chaotic times and joins the family. It is also good to stress the moment of Cinema, that for instance in Spain has generated USD 100 millions in one year,

and shows many months of progressive growth.

Too, with the reinforcement of free TV, the entertainment formats are better again, after a lack of creativity period. So, some producers that came from unscripted and produced fictions for OTTs the last year, are back on entertainment again. This is a good moment for cost-efficient formats. Let’see the market…

What more can we add about the media game? The global content market is polarizing between free TV broadcasters, which want to handle own OTTs, and the OTT platforms, which launch AVOD and FAST systems which are a non-linear free TV, wishing free TV advertisement budgets. Now it is difficult to see Pay TV referents, who were the top buyers of content not so long in the past.

Nowadays, the Pay TV players are usually a second tier of free TV or digital platforms. The all-together evolution converges to AVOD, in one sense, but we’ll continue watching alive all current media. No media will disappear. In fact, as we said this is a great moment of theatrical releases, with millionaire box offices that give them back priority in both producers and distributors.

The future is back? In some senses, yes, if we take these revivals. In others, recent trends continue very strong: both at free TV and big OTTs, everything must be mainstream, to call the attention. The costs are upper and upper, you can’t reduce quality in any market segment. As news, now the content can choose many different audiences: free TV, OTT, niches, young people, etc. And the essence of the post pandemic times are austerity, optimization, as we’ve stressed. So, new business formulas, new twists are needed. Co-productions, odd alliances, are on the way. Mipcom is a unique parade to see around and enrich the own venture.

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Editor: Nicolás Smirnoff

Mailed

It seems the same, but is different: the post pandemic market

Since the Covid-19 appeared, everyone took time to imagine how the post pandemic market would be. The most radical ones thought a disruptive world, with everything online or on the dis tance, with ‘cloud’ or ‘futuristic’ initiatives turning to real. Later, when the pandemic was maturing, many people went to the op posite, took phobia to online and imagined a full return to the inperson events and manners. At the end, the post pandemic market is a mid-point between these two extreme views, but above all it has its own rules quite different from expected, so it is important to pay attention to them.

There is a return to physical activities, of course. But these ones now are much more selective than before, they run just when they provide touchable value. The typical example: a business execu tive now develops all his/her one-to-one meetings by videocall, and leaves for in person, the events and strategic meetings that carry special importance.

The events are back because the networking they generate, can’t be obtained virtually for far. Never with its variety and intensity. The phrases we heard are true, as ‘In 2 days at this event, I learnt more and got more leads than in six months of videocalls’. And there are people so used to moving online, that believe in-person events are not necessary any more, but they usually lose presence and opportunities.

The first big difference of the post pandemic market from ex pected, is the volume. What before was 10, now is 6. Who got 20 deals per event, now gets 12 - 13 for example. But if own business evolves well, perhaps those agreements are more useful than for mer 20, because they are healthier and more profitable.

Another tip is the reduction of the small, marginal business for the average players. Its low-end customers got damaged with the pandemic, or now are more conservative. It would happen a natu ral depuration for both sides. Too, the fall-down of the stereotypes. In the past, many actions were made because ‘Everybody does them’ or because ‘if not, you are not in the market’. The blackouts, the videocalls, the new rules, made that many ‘essential’ actions are not ‘essential’ anymore, as to invest thousands of dollars in a big booth or in a massive campaign. This before was a sign of weak ness, now is seen as optimization, intelligence.

At the content market, there is a clear reduction in the volume of streaming platform productions, which till few time ago were providing furious energy to the producer houses. In many interna tional productions poles —Spain, CEE, Southest Asia, Mexico— the production levels doubled in 2021 their 2019 numbers.

Global Streaming: 14% viewing increase and big screen as a device dominator

Reporting an extreme acceleration of streaming globally, the consulting firm Conviva outlined in its latest “State of Streaming” report that Asia and LatAm have the highest streaming viewing rates in the world, with 90% and 70% increase in viewing time.

However, the consultancy highlights that the same drivers are the cause of the complications of the platforms to achieve success in some markets: Device fragmentation, saturation of streaming services and viewer expectations in terms of interface, sound and visual quality, are some of the hot spots that have to be taken into account to be relevant.

Consumption habits by markets

With a global viewing time growth rate of 14%, the consultancy reported that in addition to Asia and LatAm, the North American market has seen single-digit growth for the past year, continued that trend with a modest 5% increase in streaming viewing, as well as Europe growth in a 20%. In both markets, the consulting firm thinks that the region shows a maturing marketplace.

even the content released prior to these improvements has been adapted to generate superior experiences.

Conviva believes that while improvements were made across the board for all regions in buffering and bitrate, the opposite was true for video start time (VST).

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While Africa and Oceania, which showed 22% and 26% respectively, were considered key markets with great opportunities for content and platform entry.

Among the index that Conviva analyzed for this report, is what they call “Global Quality”, where they list elements typical of streaming services such as bitrate, buffering and video start time (VST).

Bitrates rose universally across all major regions, screen types and devices by 13.6%, meaning services are responding to audience demand for higher quality by publishing more of their content, the consultancy says. With qualities such as 4K, HDR and special audio,

OMDIA: linear or not linear, that is the question

With the conclusion of the “pandemic times” the audience is clearly choosing the digital outlets to inform and entertain. Lin ear TV viewing down while the online long form viewing time increases, remarked Omdia’s “Cross-Platform Television Viewing Time Report – 2022”.

New research from global consultancy company revealed that nonlinear viewing continues to gain greater hegemony in the daily viewing habits of TV users across the US, Europe and Australia with online long form and social media video viewing growing beyond the previous year’s boom in viewing time.

“Cross-Platform Television Viewing Time Report – 2022” has re cently found that across all the markets covered average total dai

ly viewing time reached 362 minutes per person per day in 2021 (6 hours and 2 minutes), down 0.5% on last year. Declines in linear TV, online short form and pay TV VoD account for this minor drop in viewing with the former seeing the sharpest falls, growth in online long form and social media video viewing however coun terbalanced these declines, leaving overall viewing to drop by just 2 minutes.

Linear TV viewing time decreased in all markets in 2021; the ending of restrictions and lockdowns that marked most of 2020 was the primary cause, with the continual shift toward on-demand viewing also driving this.

Rob Moyser, Senior Analyst in Omdia’s TV & Online Video team, said: ‘In highly developed markets such as the US and the UK, 2021 will likely be the last year where linear TV predominates over nonlinear TV viewing. On a platform-by-platform level, however, linear TV still remains by some distance the most popular way to watch TV in the markets covered’.

Online long form was a key area of growth across all markets, driven largely by incumbent SVODs such as Netflix, Amazon Prime, and Disney+, and the launch of several new OTT services such as Discovery+ and Paramount+. In total, long-form viewing grew by 8 minutes, reaching 68 minutes, 8 minutes ahead of social media video viewing.

Global advertising market: digital media arises

After the outbreak of COVID-19 in 2020 and its impact on some sectors of advertising such as offline, the sector has begun to show notable improvements. The consulting firm Zenith forecasts that by the end of this year, global advertising spending will grow by 8.0%, a lower rate respect the previous report by the firm, which predicted 9.1% for this year, but if it doubts more hopeful.

The drivers of this figure are results of purely digital strategies, due to cuts in areas such as print, TV or OOH, which have been consistent in all productive sectors of advertising. According to Garther, consumer brands, financial services companies and health care appear to have been less affected by the pandemic, according to an annual report. But above all, they emphasizes that purely digital companies are the ones that are making the greatest investment in advertising.

WARC also presented its global report on media investment in 2022 and is headed by online video, social media, mobile advertising, and online searches, sectors that have reflected an increase in their advertising investments, which range between 60% and 70%.

The market seems to maintain this growth. According to the consulting firm MAGMA, advertising investment will grow in 70 markets monitored by this consultancy company, which recorded above-average growth, including the US (+25%), the UK (+34%), Brazil (+30%), Canada (+27%) and Australia (+23%), while China (+17%) and India (+14%) experienced below-average growth.

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In this report, Prensario presents the most current data on the segment of prudentiality, the items that stand out and some of the trends that will govern the following months.

Good prospects by region

The market experienced a healthy growth in 2021, with a strong emphasis on the digital segment, although traditional formats also recovered, growing by 9%, after a 17% decline in 2020 due to covid.

But it was digital advertising that was the big winner last year, showing 31% growth.

Creators 3.0 for Web 3.0

There has been a lot of fuss about Web3 or Web 3.0 lately, but it is still a hard-to-explain concept — not to mention, hard to explain. The fact that new words like NFT, decentralization and metaverse are in everybody’s mouths, and that we still can’t find some context to use them properly, is confusing for the audiovisual industry which has to make its own way by making content for these hypothetical universes.

Meanwhile, a new creator emerges, one who is a pioneer, who can learn on their own and who we can take as a model to guide us to the future of content. And so, Web3 welcomes Creator 3.0.

goes “Be curious, not judgemental”.

BY ADRIÁN GARELIK, CEO, FLIXXO

Bored Apes Yatch Club, a milestone in the history of NFT, and the cultural change leader

In a great episode of Apple TV+ series Ted Lasso, the good Ted tells us a Walt Whitman phrase which

Everything that’s written afterwards comes from curiosity, is a point of view and is not at all a statement set in stone. I invite the reader to leave their prejudice aside and become part of the curious team. The concepts I develop from now on have only one goal: to trigger a conversation.

What’s Web3?

Ted Lasso, guru

Before we start rambling on theories — and we are going to ramble a lot on them —, let’s make it cleaer/get it straight. Everything started in the 90s with Web 1.0, when a set of decentralized protocols arose and became accessible to all. They are still being used and allow us to send messages — e-mail — or host and visualize web pages with some kind of visual complexity — HTTP protocol. Information in Web1 is unidirectional, users enter to read the news, check on the forecast or take a look at stock-market information.

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Gaming industry, a segment that grows year by year

The entertainment market focused on gaming is booming. And it is that the sector is expected to expand and have a value of 321,000 million dollars by 2026, according to the latest Global Entertainment and Media Outlook report by PwC.

These figures are driven by social and casual gamers, which were added following health restrictions following the COVID-19 outbreak. According to Newzoo, at July 2022 there were more than 3,198 million gamers worldwide.

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Production hubs: incentives, return and operating facilities

José Maurício Fittipaldi, Partner at CQS|FV Advogados (Brazil) and a specialist in production issues, advises large companies and international investors looking for the most competitive audiovisual destinations to generate content. Interviewed by Prensario, he described what you need to know to make the best decisions.

‘Audiovisual production investors are always looking for conditions that allow them to maximize the return on investment and reduce the risks when an audiovisual work is going to be produced, be it a film, a fictional series or a reality TV format. It is a risky activity due to its nature, and managing costs and returns well is essential in any part of the world’.

Fittipaldi underlined to Prensario Internacional the importance of global incentives for investors that promote audiovisual projects. ‘Although incentives are not the only factor, there is no doubt that their existence is a key element and, in some cases, the most relevant to make the decision’, he remarked.

Due to their nature, incentives allow producers to reduce costs and, consequently, risks: ‘The locations that offer incentives are also positioned as “film friendly” and with this they offer other advantages such as the ease of obtaining filming permits,

“Spain, Audiovisual Hub of Europe” promotes Spanish added values

temporary importation of baggage and other fundamental conditions for a successful production’, Fittipaldi reinforced.

‘A recovery of 20%, 25% or 30% of the investment will always be a determining component in the decision-making process. Many countries and regions have been implementing incentive programs to be increasingly competitive in attracting investment for audiovisual productions,’ he completed.

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Presented at the end of March 2021 by the President of the Government, Pedro Sánchez, the “Spain, Europe’s Audiovisual Hub” Plan seeks to promote the great moment of Spanish audiovisual production on a global level, based on three pillars: turning the country into a pole of attraction for production, improve the competitiveness of companies through new technologies and generate talent by reducing the gender gap.

SkyShowtime, new options for the pan European OTT market

The new pan-European streaming service was launched in the Nordics on 20 September with Netherlands, Iberia, and Central & Eastern Europe to follow. It features exclusive first-run Hollywood films and new scripted series from the world’s greatest studios

A joint venture of Comcast, parent company of NBCUniversal and Sky, and Paramount Global, SkyShowtime was officially launched on 20 September 2022 in Denmark, Finland, Norway and Sweden, bringing a premium offering of exclusive and iconic entertainment to millions of homes across Europe for the first time.

In the Nordics, it replaced Paramount+, allowing existing and future customers to watch current streamer’s favourites such as Halo, Yellowstone, The Offer and Star Trek: Strange New Worlds, as well as SHOWTIME originals Yellowjackets, Dexter: New Blood, Super Pumped: The Battle for Uber, and The First Lady And for the first time, subscribers will gain access to even more new

Monty Sarhan, CEO

Wattpad: ‘We are democratizing the stories that are told’

Wattpad is a leading social storytelling platform and entertainment company with a global community of more than 94 million people who discover and share stories from science fiction to romance and every other type of story imaginable.

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and exclusive premium series and movies spanning the best of Universal Pictures, Sky Originals and NBCUniversal.

Powered by the Peacock platform, SkyShowtime was created specifically for Europe and is dedicated to these markets. With regional offices across its territories, SkyShowtime’s customer-centric focus and local market presence informs its approach to partnerships, content, and marketing. Once launched across more than 20 countries, SkyShowtime’s apps and content will be available in 18 different languages.

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ViX+, TelevisaUnivision’s ambitious SVOD commitment

With a content offering focused on the Hispanic community and with an easy-touse interface, TelevisaUnivision’s SVOD ViX+, is already a reality in the US market and in all Latin American countries where Spanish is spoken.

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Rodrigo Mazón, EVP and general manager of ViX

Halo, series highlights on SkyShowtime

Following their theatrical and home entertainment release, SkyShowtime offers blockbusters as Sonic the Hedgehog 2

Jeanne “Jenny” Lam, president of Wattpad

ProSiebenSat.1 reinforces its streaming strategy

With the acquisition of the 100% of the shares from Warner Bros. Discovery of the streaming platform Joyn, ProSiebenSat.1 reinforces its streaming plan in the German-speaking region. This announcement places the platform in the center of the digital en tertainment strategy of the German giant media company. ProSiebenSat.1 Group acquired the outstanding 50% of the shares in Joyn from Warner Bros. Discovery, a joint venture estab lished in 2017 that has been operating under the name Joyn since 2019. From day one, the streaming platform has focused on a strong, free and thus advertising-financed offering, as well as an exclusive subscription service. With over 30 million app downloads and 4

million unique us ers per month, it has firmly established itself on the market after three years.

In the future, Joyn will be transferred to ProSiebenSat.1 Media SE’s Entertainment segment as a wholly owned subsidiary. The German media grouop is making the streaming platform an integral part of its value chain and placing Joyn at the center of its digital entertainment pres ence. In addition to content from ProSiebenSat.1 and other con tent partners, Joyn users will continue to have on-demand access to free, advertising-financed content from Warner Bros. Discovery. Users of the Joyn PLUS+ subscription offer can also obtain access to discovery+, which entitles them to use the streaming service for twelve months. Antitrust clearance is expected from October 1, 2022.

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1+1: adaptation, resilience and new projects

1+1 media group is one of the largest me dia holdings in Eastern Europe, operating the country’s most authoritative TV chan nels 1+1, 2+2, TET, PLUSPLUS, 1+1 Interna tional, UNIAN TV and Bigudi

GMA thrives with stronger, wider coverage domestically and internationally

GMA Network, the Philippines’ leading broad cast company, keeps expanding with stronger, wider television coverage across the country as it continues to deliver the Kapuso brand of cred ible news and quality entertainment to millions of Filipinos and abroad.

GMA Network Chairman and CEO, Felipe L. Gozon

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Maksym Kryvytskyi, Head of Television Business 1+1 media, General Producer of 1+1 channel, Board member of 1+1 media

The dating show Love is King

The impro series INTIMATE

ProSiebenSat.1 Media SE: Rainer Beaujean, Group CEO, Wolfgang Link, Member of the Executive Board, and Ralf Peter Gierig, Member of the Executive Board & Group CFO

Rai: stories that can interpret the conflict

Italian Rai has faced the pandemic with a great sense of responsibility towards independent producers, confirming the scope of its investments on production, devoting all efforts to restarting the interrupted sets safely.

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GPB and Teleradio-Moldova partnered

Director Generals of the Georgian Public Broadcaster (GPB) and the Moldovan Public Broadcaster, Teleradio-Moldova along with the architect of Tbilkalakproekti signed a three-par ty Memorandum of Cooperation.

Vladimir Țurcanu, Direc tor General of the TRM, and Tinatin Berdzenish vili, Director General of the GPB

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Buendia: from Spain to LatAm and viceversa

Buendía Estudio shows a great present in the Ibero-American content business: it adds more titles in Spain while it con tinues to expand towards the Americas, adding new business models.

TV5MONDE: new opportunities to come

As the global entertainment network in French, TV5MONDE broadcasts 24/7 and offers content in 13 subtitled languages worldwide, providing 7 premium services TV5MONDE USA

TV5MONDE Cinema

TV5MONDE Docs

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United Media: drama from SEE to the world

United Media is an integrated media platform, operating in eight countries of South East Europe (SEE). It produces +40,000 hours of original content yearly, news,

Aleksandra Subotić, CEO of United Media Group

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Ignacio Corrales, general manager, Sonia Martínez, editorial director, Buendía Estudios

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Merzigo is a technology-based video monetization and digital distribution company for content rights owners, production houses and broadcasters.

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Maria Pia Ammirati, Head of Drama, Rai

Yves Bigot, CEO

Merzigo: ‘We have been focusing on the technology side of the business’

Yigit Dogan Celik, Chairman

Rendez Vous 2022: the Frech fiction gains international attraction

After two virtual editions due to the pandemic, the 28th Les Rendez Vous returned to Biarritz (September 4-8), with an offer of more than 1,000 productions, of which half were novelties. The market counted more than 250 buyers from the five continents, including broadcasters, VOD platforms and other companies, while the participation of 62 distribution companies resumed the good figures of their best years and that indicated, without any doubt, the desire to come back to face-to-face contacts between the executive of the audiovisual industry.

In this 2022 edition, the market focused on the genres of documentaries and fiction, highlighting the premiere of an episode of the ambitious historical miniseries Diane de Poitiers, directed by Josée Dayan and starring Isabelle Adjani, four-part series, produced by Passion Films and sold internationally by France TV Distribution

In this edition, Unifrance also launched its new online viewing platform for French productions, Unifrance Screeningroom. A platform that served a total of 4,200 at the 130 viewing stations installed by the organization at the market headquarters, equipped with highresolution monitors and HiFi headphones.

Frech fiction as the protagonist

Exports of French audiovisual titles (in M€). Comparison last 5 years

2017 2018 2019 2020 2021

Sales + pre-sales 268,6 221,7 247,6 274,6 287,5

Foreign contributions to co-productions 56,9 54 77,7 80,2 88,4

Total of exports 325,5 257,7 325,3 354,8 375,9

Source: CNC y Unifrance

Historic results

First, global rights, led by the large OTTs, accounted for more than a fifth of these exports, following the trend of recent years, with the AVODs gaining prominence.

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The meetings between international buyers and the 62 French companies were one of the highlights during the three days of Rendez Vous in Biarritz

This edition of Rendez Vous has once again served as a privileged space to present the classical annual report on French exports. Sharing the production difficulties during the pandemic with the rest of the world industry, the French audiovisual sector achieved the best global results in its history, standing at around €376 million. An especially positive figure, not only due to the fact that it exceeds the 2020 figures by 6%, but also if we compare it with the numbers of 10 years ago when it was slightly above €242 million.

Sarah Hemar, Audiovisual Director of Unifrance; Cécile Lacoue, Director of Studies of the CNC, and Emmanuelle Jouanole, President of SEDPA, the association of French audiovisual program distribution companies at the presentation of the study

Left to right: Laura Montero from RTVE (Spain), Roberto Mitrani from the distributor Ypsilon Films (Spain) and Teresa Paixão from RTP (Portugal)

NBCUniversal: A strong slate highlighted by Vampire Academy

With a slate made up of drama, comedy and reality, NBCUniversal Global Distribution presents its novelties at MIPCOM 2022. Vampire Academy, a Peacock Original, is one of its featured titles.

MADD: edgier and bolder dramas

At MIPCOM, MADD Entertainment pro motes five successful dramas in Turkey and abroad. Heading the offering is Family Se crets, which is the hottest series since the eginning of autumn.

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Globo sets new releases at MIPCOM 2022

Globo brings to MIPCOM 2022 a selec tion of major productions and releases for the international market. The main dramas are All The Flowers and Globoplay Originals Aruanas 2.

Belinda Menendez, President & Chief Revenue Officer, Global Distribution

Belinda Menendez, President & CRO, who leads the company’s sales team, told Prensario about the potential of its international lineup: ‘We’ve had a great run – our incomparable film slate, now combined.

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GRB: enigmatic and intriguing, popular

GRB Studios (USA) arrives to Cannes with one of the strongest slate of offerings in many years, including brand-new programs such as Icons Unearthed: Star Wars and Mu sic’s Greatest Mysteries.

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Caracol TV and the success of El Rey, Vicente Fernández

Caracol Televisión is living one of its best moments in production with El Rey, Vicente Fernández, which the company entered in a ‘new stage’ with its arrival as producers in the Mexican market.

Tesera: Leader in event TV movies

Tesera Entertainment has announced a slew of new TV movies for MIPCOM. The company presents a lineup formed by high-quality genre movies, primarily in the holiday, thriller and romance categories.

TBS: dating and gameshows, drama

Tokyo Broadcasting System Television, Inc. (TBS) is ready for MIPCOM, where is again organizing an exclusive showcase & breakfast presenting its new dating format LOVE by A.I. on Tuesday, October 18, 8am at Salon Marta, Majestic Hotel.

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United Media: powerful CEE stories

United Media, the leading media company in South East Europe with +45 TV channels, brings to Cannes the most outstanding, slot-winners’ dramas.

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NHK: new 4K documentaries

As one of Japan leading distributors, NHK Enterprises attends MIPCOM after two years with a full new line up of nature, arts & cul ture, travelogue and social issues, 4K docu mentaries, as well as drama series for the global market.

CJ ENM: Korean formats and dramas as a global trend

Responding to the global demands for K-Dramas, CJ ENM returns to Cannes to attend MIPCOM 2022, where it highlights its new products in the market.

KOCCA: the Korean content gains global momentum

Dori Media boosts the drama Hammam

With new additions such as tha drama Hammam and the comedy series The Salva dors, Dori Media presented the novelties of its international catalog at MIPCOM 2022.

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Alfred Haber: Live shows and entertainment programs

As a reference of the great live events, Alfred Haber arrives at MIPCOM 2022 to present his novelties.

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Telefilms distributes Everything Everywhere All At Once

With a slate made up of critically acclaimed films, Telefilms (Argentina) presents the new additions to its catalog. Highlights include A24’s drama Everything Everywhere All At Once, Florian Zeller’s new film The Son.

The company led by Tomas Darcyl and Ricardo Costianovsky continue adding stories well received by international critics.

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Jessie K.M Jeong, VP & COO, KOCCA

Korea is one of the most important con tent producers in Asia, with that continent being the fastest growing in the global me dia content market. KOCCA, the entity that gathers and promotes the Korean business worldwide, is pushing again the boundaries by giving support to more than a dozen of companies at MIPCOM.

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BandPlay: informative and family content

Launched just over a year ago, BandPlay is Grupo Bandeirantes’ AVOD platform, bringing together the FTA network entire catalogue, combining its linear program ming, as well as live content specially de veloped for the service.

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Pinterest: ‘We need creators who are more inspiring than ever’

Pinterest continues to underpin its strat egy towards creators and media around the world and, especially, towards Latin Amer ica through Fernanda Cerávolo, Director of Content and Creators for the region.

Adrián Ortega, to lead a “New Era” at TV Azteca

As the new Director General of Con tents, Adrián Ortega Echegollen was assigned to face some of the most important challenges of the leading Spanish-speaking media group.

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Telemundo Streaming Studios: a disruptive and daring DNA

Since the acquisition of Underground in August 2019 by NBCUniversal Tele mundo, the Argentine production com pany ‘entered a new era’ generating more global content but with the same disruptive essence as always.

Fernanda Cerávolo, Director of Content and Creators for Latin America, Pinterest

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TVCoins revolutionizes the video streaming industry

The video distribution and monetiza tion platform is free and offers an in centive program to users, TVCoins rev enue director Gustavo Marra explained to the report.

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Riivi: ‘We seek the massification of Latin content’

Riivi is a digital player that emerged in Chile and it is expand ing in Latin America with recent launches in Colombia and Peru, with Mexico to follow before the end of the year.

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Adrián Ortega Echegollen, director general of contents, TV Azteca

Rafael Ariais Bezerra, acquisition coordinator, Vibra Digital / BandPlay

Pablo Culell, VP Original Content, Development & Head of Teleseries, Telemundo Streaming Studios

Cristóbal Güell, CEO, María Ignacia Barja Atik, Acquisition and Content Manager, and Thomas Dabovich, Commercial Manager

Gustavo Marra

Brazil: New players and opportunities for content

As one of the most diverse and largest markets in Latin America, the TV and content industry in Brazil is always interesting to explore. Statista forecasts that by the end of 2022, the value of the Brazilian media and entertainment market will reach USD 32 billion, up 14% from the US$28 billion recorded in 2020 amid the Coronavirus outbreak.

Brazil’s figure for this year corresponds to 1.39% of the global entertainment and media market value of 2.3 trillion dollars estimated for that same year. With a TV penetration of more than 32%, according to data from IAB Brazil , Statista believes that the penetration of SVOD users in this country will be almost 14% in 2022 and is expected to reach 18.4 % by 2027; there is no doubt that it is a key market for the industry. As the most consumed medium in the country, about 70% of the concentration of the TV audience in Brazil is divided between four networks, TV Globo , SBT , Record and Band , according to data from the Global Media Registry In 2021, Globo consolidated its new vision for the national and international market, and reinforced its importance in various countries based on strategic alliances and successful productions. This is

due to the strong digital transformation that it has been developing, such as Globoplay , its streaming platform, and the complementation of its digital environments, hand in hand with its air signal.

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Broadcasters: Erick Bretas, director of Digital Products and Pay Channels Globo, Dado Lancellotti, Multiplatform Executive Director, Record TV, and Denis Gavazzi , Sports Director at Bandsports

Telcos: Márcio Carvalho, CMO of Claro, and Raphael Denadai, Sky’s Brasil President

Majors and independents: Fabricio Proti, SVP of Ad Sales Multiplatform Latam& Country Manager Brazil of Paramount, and Gustavo Marra, CRO of TVCoins

A worldclass slate

Disney: local production to another level

The Walt Disney Company Latin America has presented at Iberseries & Platino Industria four projects from its Star Originals label.

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Being the a world-class motion picture and television studio operations aligned with the Lionsgate+, its rebranded premium global subscription platform, Lionsgate presents its news titles at MIPCOM 2022. Its international slate is headed by docuseries

Paul T. Goldman.

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TV Azteca: Dramas, documentaries and more

With a focus on drama and stories from Latin America, TV Azteca highlights its offer at MIPCOM 2022. One of its series that heads the offer is A Day to Live

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RTVE presents the new season of The Hunt Banijay Americas: High quality new formats

Spanish RTVE highlights in MIPCOM 2022 the new season of The Hunt, whose new story moves to the town of Huelva in Spain

The company it's highlighting at MIPCOM its new formats and strategic alliances. Recently, the company launched the postproduction house Wide Angle, and premiered a new season of Dancing with the Stars, with TelevisaUnivision

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Canal RCN: Dramas and biographical series

After the recent success of the remake Coffee with scent of a Woman, RCN returns to France to shows a line-up of its seasonal dramas, made up of biographical series and melodramas.

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SIC: bolder drama, divers and inclusive

SIC Content Distribution (Portugal) is launching at MIPCOM new drama series, bolder, diverse and inclusive, which are being produced for the group OTT platform, OPTO: the new telenovela For You (200x’45) and the thriller Praxx (6x’45).

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RTP: stories that cross paths

Again, part of the Portuguese Pavilion (#P-1K2), RTP highlights to global buyers in Cannes a diverse catalog of programming, including fiction series, documentaries and the brand-new genre for this year.

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Agapy

President,

TV

Canal 13: teleseries and docummentaries

The distribution unit of Canal 13 (Chile) participates at MIPCOM 2022 where promotes its recent productions, such as the documentary series Eternal Energy and The Water Road.

All3media leads its offer with The Marriage

With novelties in its catalog, All3Media International, the distribution arm of All3Media group, presents its new titles. The main ones are: The Marriage and The Holiday

Banijay: renewed and enhanced return for MIPCOM

History and nature meet at ORF-Enterprise

ORF-Enterprise (Austria) has had a strong 2022 season with many news and presence of its outstanding content offer around the world.

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The Kitchen, constantly expanding

The Kitchen continues to create what they call ‘MIPCOM Demos’, offering clients the ability to easily showcase new program offerings, in multiple languages.

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Calinos: The best Turkish stories

The line up of products that Calinos shows in the market includes the romantic drama Our Story, a series that was produced by Med Yapım

Our Story is one of the highlights of his catalog. The series follows Filiz, the main character, who has been struggling to survive in one of the poorest neighborhoods in Istanbul with her 5 younger brothers and her useless alcoholic father (Fikri).

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The world’s larg est independent distributor returns to Cannes com pletely renovated: it organizes a sus tainable stand with recyclable materials and located outside the Palais des Fes tival, brings togeth er more than 250 executives from all the company’s global businesses, and launches a line-up of content from most iconic pro grams and new creations.

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Michelle Wasserman, SVP, LatAm, USH and Brazil

Kanal D: That Girl

Insight TV: Agile content for young audiences

With content oriented to Millennials and Gen-Z audiences, Insight TV presents at MIPCOM 2022 its season slate.

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As one of Turkey’s largest content distrib utors of all times, Kanal D International ar rives to Cannes with a brand-new interna tional structure and new premium dramas for the global buyers.

Heading the slate is That Girl where Zeynep, like thousands of young girls, is a social media phenomenon and dreams of leaving her miserable life behind. But while she strives for this, she also “mothers” her father. Because her 45-year-old father, whose name is Kadir, has the intelligence of a 5-year-old. He fell victim to a cord wrapped around his neck in his mother’s womb.

Directed by Serdar Gözelekli (Love Trap and Twist of Fate), Love & Hope is the first series produced by D Productions as its relaunch project. Tolga is a famous young ac tor at the top of his career but dissatisfied with his life, and Asya is an ordinary girl who dreams of studying at university but working as a shop assistant in a shopping center.

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Cineflix Rights, 20 years in the content industry

As one of the largest independent UK TV distributors, Cineflix attends to Cannes for MIPCOM 2022, where the company celebrates its 20th and the launch of a new drama.

Hemisphere: The treasure of Morgaä is added to its catalog

Hemisphere Media Group, with its family and children’s content distribution unit, participates in the 2022 edition of MIPCOM.

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Caja de Ruido: strategic services for Majors

Caja de Ruido, a dubbing and localization company based in Buenos Aires (Argentina), is coming off a great 2022 and forecasts a better 2023 with new agreements with ma jor companies in the region and the world for dubbing, subtitling and localization ser vices, among others.

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Mediacrest: entertainment for the whole world

Mediacrest (Spain) continues to expand its international presence in markets in search of alliances that allow it to take its creativity beyond the borders of Spain.

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LaFlia gets a new position in the international market

LaFlia Contenidos (Argentina) handles for Mipcom important news: an Alliance with Banijay Rights to create a production hub in Buenos Aires for All Together Now; also it has opened an office in Spain to develop projects in Europe.

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Selim Türkmen, Director of Sales

Nippon TV: three new formats

Exhibiting with an all new, larger booth (P-1.D50), Nippon TV, Japan’s leading multiplatform entertainment powerhouse, heads to MIPCOM with two new scripted formats and one new unscripted format.

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Inter Medya presents new Turkish big hits

Cisneros: Focus on content for the family

With a varied catalogue, made up of products from its development unit for the whole family and for the adult public, Cisneros Media presents its novelties at MIPCOM 2022.

Onceloops: teenage series and Latin contents for distribution

At MIPCOM 2022, Onceloops Media are making emphasys on two of its lead products of the season, comedy series Teta Metralleta and WTF!, both titles have the essence and quality that characterizes the company.

ABS-CBN: Filipino drama to the next level

ABS-CBN International (Philippines) is promoting in Cannes its renewed dramas slate for the 2022/2023 season, including five charming and loving stories.

Universal Cinergia launchs its 6th studio

Universal Cinergia continues to expand worldwide. The company focused on post-production services, opened its 6th studio, this time in the city of Rio de Janeiro.

GMA: women-lead dramas

GMA Network (Philippines) attends MIPCOM with five highlighted series, including romance, crime, thriller and mystery productions. With 26 dramas produced a year, the company is the primary source of Filipino content.

Inter Medya participates at Mipcom 2022 stressing very important productions: Another Chance, The girl of the green valley and the 2022 Seoul International Award-nominated Aziz Can Okan, president and CEO, says to Prensario: ‘In parallel with the growth of our industry, we are expanding our business to catch up with global trends and developments. Both our sales volume, the country/broadcaster we reach and our library are extending’.

The executive highlights that its internal team is also growing and currently they are exporting content to over 150 countries, with a very extensive catalogs, not only TV series but also feature films and reality/game show formats.

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APAC: the content business evolves with the region

when attending tradeshows in different parts of the world. The return of the largest programming markets to the global sce nario.

Prensario has been attending key Asian tradeshows in the last 10 years, witnessing the evolution of its creative community, its business leaders and the domestic market. Once called “emerg ing” territories, some of these countries are now developed TV and streaming markets.

There is a positive outlook that travel restrictions will be eased further for many Asian territories as the end of 2022 is arriving. Even though the APAC region has not stopped dealing on the content businesses, it has been one of the most affected

BUYER SPECIAL INTERVIEWS

CJ: ‘Korean audiences always seek for something new’

CJ ENM is #1 media con glomerate in Korea having created the largest sum of scripted and non-scripted shows within the market.

The company not only provide shows to its affili ate channels.

The Indonesian market remains an interesting market for de velopment, and in line with that. Vietnam and Thailand are also markets to keep a look out for, the first one being a burgeoning market which continues to grow, and this is reflected at ATF with the hike in numbers of Vietnamese buyers who will be at tending this year.

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GMMTV focused on teen and new generation audiences

Founded in 1983, GMMTV Company Limited is one of Thailand’s Top entertainment companies, and has been expanding the television program production business since 2007.

Mongolia welcomed US Major studios to promote its local industry and incentives

Nomin Chinbat, Minister of Culture of Mongolia, and the Mon golian National Film Council (MNFC) have welcomed several ma jor production studios

Diane Min, head of Format Sales

Sataporn Panichraksapong, CEO of GMM TV Co., Ltd

The Minister of Culture of Mongolia, Nomin Chinbat

MENA: A region of opportunities for the SVOD segment

The African OTT market is one that has been growing substantially for some years now. Digital TV Research forecasts that the continent will have 13.64 million paying SVOD subscriptions by 2027, up from 4.90 million at end-2021.

This trend is accompanied by the strong penetration of the domestic internet, and the improvement of the mobile band. In MENA alone, there are already about 516 million internet users (higher per capita than global internet penetration, according

OTTera in Africa, a FASTgrowing continent

to eMarketer), and year-on-year growth between 2.9% and 4% through 2026 is also projected.

Some consultants have even predicted that only 6.6% of TV households will pay for at least one subscription by 2027, up from 3.9% at end-2021.

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Simon Tchokonte, Director of Business Development, OTTera Africa

According to a recent report from Digital TV Research, Africa will have 13.64 million paying SVOD subscriptions by 2027, up from 4.90 million at end-2021, with only 6.6% of TV households paying for at least one subscription by 2027 (up from 3.9% at end2021).

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App/FAST Channel

T U R N Y O U R C O N T E N T I N T O M O N E Y W I T H F . A . S . T . !

TelevisaUnivision: Stepmother, fifth title of ‘Dream Factory’ line

TelevisaUnivision continues to be one of the leading providers of dramas in the Hispanic market. At MIPCOM 2022, the company presents Stepmother Produced by Carmen Armendáriz for TelevisaUnivision, Stepmother is the fifth installment of the “Fábrica de Sueños” franchise in 2022.

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Glowstar, a good content partner for OTTs

Glowstar is a tailor-made content developer, which now is specialized in content on demand for SVOD and AVOD systems. The company attends Mipcom with good news: it is not only producing tailored fictions, but also creating unscripted shows for OTTs.

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Keshet: true crime, biopic and aspirational

This MIPCOM, Keshet International is back in Cannes with the biggest delegation since 2019, and the company has a slate to match with global buyers, including six brand new shows.

Workpoint: top formats with twists

With over 200 entertainment programs produced in Thailand over the last 32 years and exported to various international mar kets, Workpoint Entertainment Group offers unique and intriguing formats with a twist.

2022, a year of growth for Haymillian

As a global media localization and access services company, Haymillian serves a wide range of clientele including TV channels, VODs, production, distribution and eLearning companies.

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New destinations for Mediterraneo’s content

Mediterraneo Mediaset España arrives to MIPCOM with successful programming content in both scripted and unscripted. On the first group, Wrong Side Of The Tracks, the greatest fiction milestone this year.

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FAM Contenidos: Projects for platforms

With various projects in different stages of production, FAM (Argentina) attends MIPCOM 2022 to look for new partners and to present its recent titles.

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VOXX: expanding its language portfolio

Since May 2022, Danubia Farias is the new managing director of VOXX Studios, a top dubbing and localization studio in Los Angeles headed by Andrei Zinka, CEO.

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The greatest gathering of LATAM buyers and developement execs

Mario Castro, Sales director

Legendary (USA), which has been in the international business just over two years is building good momentum and cultivating robust relationships. It launches in Cannes the Spanish thriller Tú También Lo Harías (8x’30)

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Legendary partners ‘strong in-territory’ talents Buendia, where local becomes global

Buendia Estudios has become a referent in Spain and the Spanish-speaking territories after consolidating top projects with local players for the global market, such as The Cook of Castamar.

OTTera brings value to FAST platforms

OTTera is a true end-to-end solution, working with its clients across all levels of support: from strategy with channel cre ation to global platform distribution, the company develops, creates, distributes and monetizes channels and apps.

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Onza: high-quality and diverse shows

This year’s MIPCOM, Onza Distribution (Spain) is bringing to Cannes a renewed and diverse content catalogue, including dramas, formats and documentaries.

Eccho Rights, the Turkish drama essence Fredrik af Malmborg, managing director

Eccho Rights is bringing one of the most exciting line up ever to MIPCOM this year, with new titles from top producers around the world, such as the brand new Turkish dra ma Golden Boy, as well as a host of returning series that continue to grow their audiences season after season.

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Applicaster: Where is the game aired today?

With a focus on sports broadcasting and the growing OTT market, Laura Tapias, VP, Americas & Spain, offers a relevant analysis of the segment ahead of MIPCOM 2022, where she highlights the new business models addressed by the industry.

The Mediapro Studio: getting bigger worldwide

Being a leader in the production and distribution of content for TV, The Mediapro Studio returns to MIPCOM 2022, where it presents their recent projects, like Pelotaris, its firts original series for ViX+.

ZDF Studios: strong presence at MIPCOM

ZDF Studios is launching in Cannes a big and diverse programming slate that in cludes thrilling dramas, a stunning nature series, the ultimate quiz show format and three animated children’s series.

GMMTV: a Thai content creator to watch

With more than 30 years of experience, GMMTV offers a variety of high-quality con tent appealing to teens and new generation audiences, based on a large group of follow ers (13-24 years old).

Marta Ezpeleta, Head of The Mediapro Studio Distribution, coproductions, acquisitions and International Offices

Marta Ezpeleta, Head of The Mediapro Studio Distribution, coproductions, acquisitions and International Offices, talks with Prensario about the current situation of the international unit and the news for the following months.

‘We are with several projects simultaneously around the world. Par of this is our highly relevant strategic agreements, such as the one already mentioned with ViX+, as well as our association with actress Penélope Cruz in the creation of her new production company, Moonlyon, or the agreement reached with the Turkish giant of Medyapim production for the production of content in Spanish’, comments Ezpeleta

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Sato: action and beloved stories

Sato Company is attending MIPCOM, where it is promoting a diverse and strong action slate, headed by the series The Le gend of Bruce Lee, combined with awardnominated series such as Heartland

Pyrus Media, the company of Luis Peraza

Pyrus Media, the production company founded by Luis Peraza, former renowned HBO LatAm executive, lands to MIPCOM where seeks new business with its extense expertise in the industry.

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DINT: safety, quality and speed

With more than 40 years, DINT is one of the pioneers and most experienced dubbing houses in Latin America. It was founded by the Barzelatto family.

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Mediaset returns to MIPCOM with Back to School

Mediaset Distribution, the sales arm of Mediaset Group, is heading to MIPCOM (Cannes, 17-20 October 2022) after two years of hiatus with a successful format: Back to school.

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Zee: originals, adaptations and coproductions

After conquering SEA, MENA and In dian Global Diaspora markets over the past 3 decades, Zee is now looking for ward to wooing and entertaining the audiences in Latin America

Audiovisual from Spain, at forefront of the global business

With almost 30 years in the industry, Lux Vide, Italian production company founded by Luca and Matilde Bernabei, continues to expand. After joining Fremantle, the company continues to develop premium content with a global profile.

Lux Vide: growth and evolution Global Agency: Stories that conquer audiences

The company participates at MIPCOM 2022 introducing its international slate of contents. Among its recent sales, the company highlights the deals with Divinity and RTVE (both from Spain).

Colin from accounts

Paramount Global Content Distribution is heading MIPCOM with a compel ling program offering including content that spans every genre from drama to comedy, documentaries, formats and in ternational co-productions.

Red Arrow: social experiment and factual entertainment

Launching a dynamic slate, Red Arrow Studios International presents its new unscripted formats at MIPCOM 2022 across reality, social experiments and factual entertainment.

Star Media: Adaptation and Evolution

Ukrainian content producer and de veloper Star Media is still more active than ever. The company has embarked on a new production strategy in part nership with its producer partners.

ICEX Spain Trade and Investment has been promoting the internationaliza tion of the audiovisual sector for many years, especially through the organiza tion of group participations of Spanish companies with a constant presence in the main markets, festivals, network ing events and, of course, international media.

Heading MIPCOM, the Spanish del egation is coming stronger with new participants and more contents of dif ferent genres. ‘We have participated in the most important mar kets such as Series Manía Forum, MIPTV, Sunny Side of the Doc and Natpe Budapest, and we will have a presence at Mipcom, DICM, ATF and Content London. Along with the support to the companies, we design and organize different activities to add value to the Span ish producers and distributors’, underlined Pablo Conde, Director of Cultural Industries, ICEX.

Pablo Conde, Director of Cultural Industries, ICEX

Seven One (Germany): Thomas Lasarzik, EVP Content Acquisitions (middle) with Sebastian Kiege, director content acquisitions; Johanna Tübbing, sr manager acquisitions, and Jette Krabel, junior manager acquisitions, both digital/pay TV/anime, and Semhar Ogbazion, manager acquisitions, linear TV

Regional Spanish broadcasters: Oriol Sala-Patau, executive producer, and Cristina Muñoz, board member, TV3, Catalunya; José Luis Blanco, programming director, eitb, País Vasco; Carlos Blanch, head of acquisitions, TV3; and Aritz Galarza, head of programming and acquisitions, eitb

Stan, leading Australian OTT: Les Samsung, programming, Chap Leonard, executive director, Worldwide TV & Digital Distribution, Lionsgate, Martin Kugeler, CEO, Caila Scobie, Chief Content Officer and Alex Trippas, content acquisition lead

South Korea: Haein Lee, marketing manager, and Sunghoo Yoo, General Director, both Europe Business Center from KOCCA; Heejun Kim, director, YTN; Hojin Kwon, Drama CP/Executive Director, SBS Medianet; and TJ Kim, president, United Media

FRAPA: Hwang Jin Woo, Something Special (Korea), Jan Salling, BBC Nordics, Joe Mace, ITV (UK), Nick Smith, All3Media International (UK), Phil Gurin, The Gurin Co. (USA) and Carlotta Rossi Spencer, Banijay (UK)

Global OTT head buyers: Colin Morawski, Director, Content Acquisitions, Netflix, with Royce Battleman, SVP Content Acquisitions, and Michael Quisley, EVP Content Acquisitions, both Warner Bros. Discovery

YLE, Finland: Johana Salmela, acquisitions manager, Kaisa Herlevi, acquisitions

TF1, France: Gregorie Delarue, programming and acquisitions, and Xavier Gandon, head of acquisitions (borders) with Philippe Renouard, Paramount

Asian OTT buyers: Taehoon Park, CEO and co-founder, Watcha (South Corea); Camelia Somers and Kara Mckinney, from Lionsgate; Michelle Jo, business development, and Sol Kim, head of business development, Watcha

Hungary: Andrea Zaras, head of acquisitions, Gabor Fischer, programming director, all from TV2, with Gabriella Vidus, CEO, Peter Kolosi, Deputy CEO, Bianca Balazs, head of acquisitions, and Szabo Balazs, programming director, all from RTL

Mediaset Italia: Marco Costa, thematic channels director , Sebastiano Lombardi, network manager, rete4, Giancarlo Scheri, director, Canale 5, Imma Petrosino, head of acquisitions

Disney+ Acquisitions: Jane Kim, Disney+ (APAC), Laurie Murphy and Deb Huxley, Disney+ (EMEA), Chase Brisbin, Chap Leonard and Kathryn Ikenberry, Lionsgate, Yaphett Powell, Disney+ (EMEA) and Tina Zee, Disney+ (APAC)

Oceania and Europe: Tessa Kearins, Head of Content Planning, Disney+ (Australia), David McCawe, Lionsgate Asia, Adrian Wills, General Manager, Drama and Lifestyle, and Emma Azech, Channel Director, both from UK TV (BBC)

CJ ENM, South Korea, acquisitions & programming team: Anni Chang, Seung Hoonham, Myeung Hin Lee, Un Ji Sung, and Elaine Blinth

Jamie Phillips, Lionsgate, with Berengere Terouanne, acquisitions manager, and Sidone Garrett, head of acquisitions, both from M6, France

Belgium: Nico Nulens, head of broadcast operations, DPG, Valerie Daems, acquisitions, Stream2, Stefanie Segers, acquisition manager, SBS, Luc Janssens, head of acquisitions, DPG

Roku Inc., global: Vicki Liao, senior manager, Content Acquisitions, Victoria Salvadore, content acquisitions manager, Rob Holmes, lead content programming strategy, Jennifer Vaux, Senior Director, Content Acquisitions, and Pablo Corona, consultor for Latin America

Canada: Heather Lovegrove, director programing, Yes TV, Melissa McEachern, COO, Crossroads, Glenn Steward, COO, Yes TV, David Garby, director, Business Development, Yes TV

TV Joj, Slovakia: Peter Adamik, programming manager, Erika Tothova, head of acquisitions, Eva Dzurovcinova, acquisitions

Acquisitions, Canada: Craig Junner, Andrea Harrick and Jamie Schouela, Blue Ant, with Rekha Shah, Paramount, André Beraud and Dany Meloul, SRC (Societe Radio Canada)

Pilar de las Casas, VP Cinema and Documentary Channels, y Manuel Balsera, director general, Southern Europe, AMC Networks Iberia; Jacques Roldan, VP Client Relations, Iberia and Middle East, Paramount; Ricardo Deben, EVP y Director General, y José Badini, VP Programación y Adquisiciones, ambos de AMC Networks Latin America, y Rosario Cosentino, Senior content Manager, Paramount

TV 2, Denmark: Lotte Lindeegard, CCO, Amteas Leifer, head of acquisitions, Mette Gravesen, programming manager, and Mette Rysoe Johansen, head of programming and scheduling

Stephanie Ebro, head of marketing, StudioCanal, Françoise Guyonnet, head of TV series, StudioCanal, and Alix Lebrat, SVP TV Series, Studiocanal (all France) with Marco Chimenz, Cattleya (Italy)

Programming & Acquisitions from Kanal 2, Estonia: Krispel Volver, Karl Kruuda, Juri Pihel, Risto Rosimannus, Kai Gahler

New Zeland & Australia: TVNZ, NZ: Josh Wolfe, business afairs, Cate Slater, content director, Dan Monaghan, Network Ten, Australia, Ben Quinn, head of programming, TVNZ

Globo Brazil: Ana Carolina Lima, head of content, Globoplay, Karen Daylac, acquisitions director, Globo, Gabriel Jacome, head of content, and Manuel Belmar, CFO, Globo

México and US Hispanic: Jaime Aguilar-Álvarez, General Director of Programming & Acquisitions, Jorge Balleste, VP Content Partnership and Acquisitions, Alejandro Sacasa, Director, Content Partnerships, all from TelevisaUnivision; Karina Montoya, acquisitions, and Ana Lydia Montoya, general director, Mexicanal; and Alejandro Vázquez Vela, content general director, MVS Television

WarnerBros Discovery, Latin America: Gustavo Grossman, Daniel Sanchez, Mariano Gastón, Danny Zambrano, Andrés Mendoza, Manuel Trancon, Analía Pollero

A+E Networks Latin America: Hortensia Montesino, acquisitions, A&E, Carmen Larios, SVP Content, A&E and Lifetime, and Eduardo Ruiz, EVP & GM, A&E Ole Networks, with Maximiliano Luksic, exe director Canal 13 Chile

Shan Ray, agent TV literary & international, and Roy Ashton, partner, both from U.S. Agency Gersh, with TVP Poland: Aleksandra Kazmieruk, head of international sales, and Mariusz Lewandowski, head of marketing

Amazon Video Latin America: Mateus Pagani Muradian, content acquisitions, LatAm; Bianca Serra, head of content, and Joao Mesquita, GM, Amazon Brasil; Pablo Iacoviello, head of LatAm, and Melissa Sanjuan, content acquisitions, LatAm

Paramount in Cannes: Consuelo Silva, programming deputy manager, Chilevision (Chile), Rosario Cosentino, format senior content manager, Paramount Spain, and Mercedes Feü, acquisitions senior director, South American Cone – Telefe/Chilevision (Argentina)

Spanish buyers: Sonia Vesperinas, acquisitions executive, and José Antonio Salso, head of sales and acquisitions, Atresmedia (borders) with Sonia Salas, TV series editorial, Telefonica Audiovisual Digital

Disney Latin America: Marta Ezpeleta, The Mediapro Studio, with Ana María Núñez, acquisitions director, Santiago de Carolis, head of Content Strategy, Disney+, Lucia Chanllio, Senior Manager, head of content planning, Disney Latin America, and Julieta Piazza, multiplatform content strategy, Disney+ & National Geographic

Erika Rodríguez, films director, Azteca 7, Mexico; Guillermo Sierra, head of TV and digital services, HITN (USA); Paulette Bensunsen, president, TDO Media (USA); Pedro Lascurain, acquisitions director, and Alejandro Chávez Vejo, new CCO, all from TV Azteca

TVI (Portugal): Piethein Bakker, director general, Plural Portugal; José Eduardo Moniz, general manager, Margarida Pereira, head of acquisitions and international programming, and Gabriela Sobral, content director

Verticast, the English Caribbean: Kia McIntosh, head of programming, Carlo Redwood, Chief Commercial Officer, and Sushilla Y. Jadoonanan, head of legal