Spain, Where Talent Ignites
Betancor
Atresmedia’s Jose Antonio Salso Mediaset’s Rocío Cachero
RTVE’s Rodolfo Domínguez Movistar Plus+’s Fabrizia Palazzo
Filmax, Feel Sales
Secuoya Studios, Onza Distribution Ánima Kitchent
“Spain is an ideal partner for any type of co-production”
Spain has been named Country Of Honour for 2024, with events in Cannes co-presented by MIPCOM CANNES and ICEX, The Spanish Institute for Foreign Trade. ICEX CEO, Elisa Carbonell, spoke to Julian Newby about why the time is right to turn the spotlight on Spain
SPAIN is right now experiencing a marked rise in scripted and non-scripted productions, and Spanish content is consistently rating high in countries around the world. The country has also established itself as a major international production hub, benefiting from rising demand among domestic and international streamers.
Commenting on the partnership between MIPCOM CANNES and ICEX, María González Veracruz, Spain’s Secretary of State for Telecommunications and Digital
Infrastructure, said: “Spain being chosen as Country Of Honour is jumping into the front line of entertainment and audiovisual creation at the international level. It is a leap that can only be good for our companies, the industry’s employment, talent and creativity.”
Country Of Honour events held throughout MIPJUNIOR and MIPCOM CANNES range from high-profile screenings, panels focusing on co-production opportunities and a Spanish-themed MIPCOM CANNES Opening Night Party. ICEX is playing a key role in the organisation and execution of these events.
Spain, Where Talent Ignites is a campaign designed to promote and consolidate the image of Spanish audiovisual worldwide. How long has the campaign been running, what developments have been made already and what is the ultimate goal?
The campaign Spain, Where Talent Ignites connects the Spanish audiovisual industry to talent, enhancing its recognition and reputation among international and professional audiences. The goal is to boost the commercialisation of Spanish productions and increase business opportunities for the sector in a highly competitive global market.
The campaign revolves around a short film titled The Cause Of The Accident That Set The Fire, which premiered at the San Sebastián International Film Festival and was highly acclaimed by the international audiovisual industry.
The dedicated website, spainwheretalentignites.com, features additional content, including interviews with creators such as Victoria Luengo, Juan Diego Botto, Isabel Coixet, Elena Martín and Rodrigo Sorogoyen. A comprehensive communication strategy supports this effort, with active engagement on social media and participation in major international markets.
Spain is MIPCOM Country Of Honour this year. This, I presume, represents a big step in the Spain, Where Talent Ignites campaign. What are your hopes for the week in Cannes?
Being the Country Of Honour at MIPCOM is a fantastic opportunity to showcase the toptier talent we have in Spain. The goal of the campaign is exactly that: to shine a spotlight
on our talent and show the international industry that Spain has so much to offer in terms of creativity, expertise and know-how. In addition to presenting the campaign, MIPCOM CANNES will be the perfect stage to see and hear from Spanish talent at all levels — directors, producers, showrunners, executives, and more. We’ve put together a carefully curated programme that complements our campaign and will place Spain firmly in the spotlight of the audiovisual industry.
How do you view the current state of the audiovisual industry and original content production in Spain?
The audiovisual industry plays a key role in the Spanish economy. Today, Spain ranks in the Top 10 in the European Union, both in the number of titles produced and hours of production. Of course, much of this growth has been driven by digital platforms. The entertainment sector in Spain, which includes OTT video services like Netflix, Amazon, HBO and Disney+, has grown over 400% from 2018 to 2022 and is expected to grow another 31.6% between 2023 and 2027, according to data from the European Audiovisual Observatory.
Spain, in particular, stands out as one of the main recipients of investment in European original-content production, reaching an investment figure of €1.74bn in 2021 and €1.8bn in 2022.
Has the OTT market growth also enhanced the visibility of Spanish content internationally?
Without a doubt. With releases like Money Heist and Cable Girls in 2017, Netflix showcased the quality of Spanish content to the world. Since then, we have only strengthened that presence. For example, in recent months, Spain has won dozens of international awards with series like The Snow Girl, The Messiah, El hijo Zurdo, Las noches de Tefía, 30 Coins and Poquita Fe. Additionally, films like Society Of The Snow or Robot Dreams in the animation sector have also stood out.
What is behind the ICEX-backed Spain, Europe’s Audiovisual Hub plan?
The goal of the Spain, Europe’s Audiovisual Hub plan has been to make the country a leader in audiovisual production in the digital age, an attractive destination for in-
ternational investment and talent, with a reinforced ecosystem for exporting and competing in global markets.
As indicated by the US Chamber of Commerce in Spain in 2022, our country is a central hub for exporting film and television products. Spain benefits from a privileged position to attract foreign investments and promote global exports, thanks to its language and strong commercial and diplomatic ties, especially with the US and Latin America.
For example, in 2022, there were 72 films produced within the framework of Spanish co-productions, according to the Ministry of Culture (2023). Of these, 65.3% (47 films) were made in co-operation with at least one European country, highlighting the importance of transcontinental synergies. Additionally, 38.9% (28 films) were in collaboration with Ibero-American countries, showcasing the strong cultural and cinematic bonds that unite Spain with these nations.
Why is Spain an attractive partner for international companies?
Spain covers all phases of any production. There are over 72,000 professionals and 6,700 companies dedicated to the audiovisual sector. The country has top-tier producers, creators, directors and talent, both in front of and behind the camera. Furthermore, our film production capabilities and related industries rank us among the top in terms of broadband and 5G deployment. Finally, low production costs offer a competitive advantage compared to other countries. Spain also hosts over 40 film festivals, including some of the most renowned worldwide, such as the San Sebastián International Film Festival, the Seminci, the Málaga Film Festival and the Huelva Ibero-American Film Festival. Over 500 international awards attest to Spain’s excellent track record in the audiovisual sector over the last decade. From Spain, we aim to be a production hub for both Spanish-language content — leveraging the ties and synergies that unite us with Hispanic markets — and international content.
Could you highlight any examples of strategic partnerships and co-production agreements that have boosted business in Spain?
I can highlight major producers like Secuoya, with series like Zorro, released earlier
this year on Prime Video, or Montecristo, produced in partnership with ViX. The success of these projects has already led to two more co-productions between the studios, Arcadia and Under A Volcano, announced in May this year, as well as The 39, which will be filmed in Spain and Colombia. In the realm of co-productions between Spain and Latin America, we also have Onza Entertainment, which through its subsidiary Onza Americas has produced series like Hernán, together with Dopamine and Parot, in partnership with Paramount Latin America. Another successful example is La Unidad, an ambitious project in association with Vaca Films for Movistar Plus+ in its first season, and with Buendía Estudios for the second. This series was filmed in several countries and tackles an international theme: a unit specialised in fighting terrorism.
Which markets are strategic for Spain when seeking co-productions?
There is no single strategic market for fostering co-productions. What determines the ideal market for a co-production model is the content itself. Recent examples like Weiss & Morales with Germany’s ZDF or Cicatriz with Serbia’s Telekom show that it all depends on the content. This can also be influenced by the expertise of the co-producing partner. For example, an animation co-production is not the same as a long-running daily series, a miniseries or a documentary.
What are the main attractions to co-producing with Spain?
Spain is an ideal partner for any type of co-production. We have top-level talent and professionals. We have a mature market that produces, as I mentioned, an enormous number of hours per year. We are Europe’s leading audiovisual production hub, with a legal and fiscal framework that allows us to offer some of the best incentives in the world. The figures show a clear increase in the number of international productions coming to Spain. But we’ve also embraced the opportunities offered by the international market, which is why independent producers now find better business opportunities. Not to mention, of course, that we have a robust platform and national TV channel offering, which has systematically supported co-productions, thus facilitating the search for international partners.l
MEDIA MASTERMIND KEYNOTE
Spain, Where Talent Ignites Grand Auditorium
Tuesday, October 22, 16.00-16.30
Spain, Where Talent Ignites is the title of a keynote session featuring filmmakers JA Bayona and Diego Betancor, who will engage in a discussion on “creativity, fears and generational shifts in filmmaking”. Powered by Audiovisual from Spain, the session will also mark the first time that the short fashion film, The Cause Of The Accident
That Set The Fire, has been seen on the big screen outside of Spain
SPAIN, Where Talent Ignites is a campaign launched by ICEX aimed at highlighting the talent, creativity, and excellence of professionals in the Spanish audiovisual sector. The aim is to improve the recognition and image of Spanish audiovisual work among foreign professional audiences, and to boost the commercialisation of national productions and increase business opportunities in a global and highly competitive environment.
The campaign is designed to enhance the Audiovisual from Spain brand, through which ICEX promotes the Spanish audiovisual sector in international markets, a parent brand that encompasses the subbrands Cinema from Spain, Docs from
Spain, Animation from Spain, Games from Spain and XR from Spain.
The campaign is the theme of the Spain Country Of Honour keynote, which features a conversation between filmmakers JA Bayona and Diego Betancor; and the premiere of the short film The Cause Of The Accident That Set The Fire, a stylised and immersive work exploring creative processes, produced by Canada and directed by Berta Prieto.
“Fire — an element that is both cathartic and recurring — is used to build the narrative of this campaign, placing creative ignition, inspiration and talent at the core,” according to ICEX. “The aim is to emphasise the artistic quality, originality and uniqueness of our audiovisual industry, as well as highlight its
leadership capability and diversity.”
Spanish film director Juan Antonio García Bayona’s work includes the 2007 horror film The Orphanage; the 2012 drama film The Impossible; and the 2016 fantasy drama A Monster Calls. A recent film from Bayona is the 2018 science-fiction adventure Jurassic World: Fallen Kingdom, the fifth installment of the Jurassic Park series. He also directed the first two episodes of the Amazon Prime series The Lord Of The Rings: The Rings Of Power — and has directed television commercials and music videos.
Diego Betancor began his professional career in 2011 as an assistant director in major Hollywood productions, including: Wrath Of The Titans; The Dictator; Fast & Furious 6; Exodus; and Jason Bourne. In 2021, he joined Madrid-based El Desorden Crea, Carlos Montero’s production company, where he produced the series Todas las veces que nos enamoramos (2023), Respira (2024), and is currently in post-production for the series Legado, as well as developing the feature films Una familia by Ricardo Gómez and Agrestes by Bàrbara Farré.
Alongside the Spain, Where Talent Ignites campaign, subjects under discussion between the two creatives will include: “Fear: does it ignite creativity or nullify it? Creativity for global success — do creatives think globally when creating? And keys for engaging younger audiences and how to approach new generations — is it necessary to adapt the content for these audiences?l
The screening of an episode of RTVE’s Ena: La Reina Victoria Eugenia is one of the many must-see events at this year’s MIPCOM CANNES. RTVE’s Rodolfo Domínguez spoke to Gary Smith ahead of the screening
THIS original six-part series, based on the book Ena. La Reina Victoria Eugenia by Pilar Eyre, was shot in some of Spain’s most striking locations, including the Palacio Real de Madrid, the Palacio de la Granja in Segovia, the Palacio de Santoña and the Palacio de Fernan Nuñez, both in Madrid, and the Palacio de la Magdalena in Santander. The cast includes Canarian actress and singer Kimberley Tell as Reina Victoria Eugenia;
Joan Amargós as the serial adulterer King Alfonso XIII; Lucía Guerrero as Beatriz de Sajonia; and Joaquín Notario as the Marqués de Viana. Several cast members and pro -
duction executives will be in Cannes for the screening and will take part in a Q&A session after the episode.
“The showrunner is Javier Olivares. If historical fiction in TV is linked to a name, to a current talent, that is Javier Olivares,” commercial director at RTVE, Rodolfo Domínguez, said. “He was one of the creators of the series Isabel and, together with his brother Pablo, invented a new style of
“If historical fiction in TV is linked to a name, to a current talent, that is Javier Olivares” Rodolfo Domínguez
fiction designed to give a different look to our history and changing times. His 2015 series El Ministerio Del Tiempo knew how to tell episodes of our past in an entertaining, insightful way while connecting to the present. He is more than a writer: Olivares is a showrunner capable of giving plot continuity and soul to serialised fiction.”
Domínguez said Olivares’ career as a scriptwriter for television series is “guaranteed. His resumé includes hits such as Los Serrano, Los Hombres De Paco, Robles Investigador, Pelotas, El Secreto De La Porcelana and Camino De Santiago, as well as being the plot director of the last seasons of Ventdelplà. He was also the creator of Víctor Ros, Kubala, Moreno i Manchón and Infidels.”
Two women directors worked with him on the series: Anaïs Pareto [four episodes] and Estel Díaz [two episodes].
“This series is going to surprise viewers because Victoria Eugenia of Battenberg, known to most as Ena, is a very attractive and intriguing character,” Domínguez said.
Ena was a woman ahead of her time, known for her daring style and for participating in activities that women might not have engaged in for societal reasons — golf, for example. “Despite having arrived in Spain at the age of 17 without knowing the language and having lost her nationality, she held on to what she had and dedicated herself to the regeneration of the Red Cross, among other charitable and humanist activities,” Javier Olivares, said. “In addition, it was she who really worked for the succession and the permanence of the crown in Spain.”
Ena is the story of a young British woman who had never imagined becoming Queen. “She leaves behind her family, her customs, her culture and her religion to live in a strange land. Although she never felt accepted or loved, she never gave up trying, always fighting to achieve both. She was a modern woman in a traditional environment who was an icon of fashion, but who also fought for the liberation of women from outdated customs and attitudes,” Domínguez said.
Going against the norms of the time, she smoked and wore trousers. And when she discovered the multiple and continuous infidelities of King Alfonso XIII, she continued as Queen with discretion and resilience. She suffered the curse of passing on hemophilia to her children, and all the difficulties that entailed in terms of the dynastic succession. In order to make her mark and give back to society, she worked hard on the restoration of the Red Cross, turning it into a functioning and efficient organisation.
Ena was a woman who didn’t let the conflict and dangers associated with this period of history affect her ambitions. She witnessed two world wars, the deadly and bitterly fought Spanish Civil War and the horrors of the Spanish flu after WW1. Ena, as a series, tells the story of Victoria Eugenia’s life and also portrays an era that changed the world forever. The series is co-produced by RTVE with Ena La Serie AIE, La Cometa TV and Zona App. l
Grand Auditorium
Monday, October 21, 18.00
“We pride ourselves on creating high-quality and relevant content for all kinds of audiences”
Jose Antonio Salso
Jose Antonio Salso, head of acquisitions and sales at Atresmedia
Atresmedia is parent company to flagship channels Antena 3 and LaSexta, alongside three other Spanish terrestrial channels. The broadcaster is currently enjoying the popularity of its telenovelas across the country, Jose Antonio Salso told Gary Smith ahead of MIPCOM CANNES
ATRESMEDIA’s flagship channels are Antena 3 and LaSexta; in addition, the company operates three other national terrestrial channels — Neox, Nova, and Mega.
“One of the biggest viewing trends in Spain right now is high-quality telenovelas,” Jose Antonio Salso, head of acquisitions and sales at Atresmedia, said. “It is a standout trend, exemplified by the success of Dreams Of Freedom, our new daily telenovela. Additionally, dramas like Beguinas — inspired by the beguinages, women who, since the 13th century, advocated for an alternative and independent way of life apart from marriage and the Church — and dramady Eva & Nicole, set among the night life in Marbella, are enjoying significant success,
as they feature strong female protagonists and powerful, universal stories,” he said.
True-crime documentaries are a relatively new viewing trend in Spain, according to Salso. “Our catalogue includes several true-crime titles such as Don’t Tell Anyone, and we’ve recently added the docuseries Tor. Created by Carles Porta, the series revisits the dark legend of Tor, a small village of just 13 houses where three murders took place. Also, entertainment programmes including The Ant-Hill, now in its 19th season, and The Challenge with its fifth season currently in preparation, continue to be among the most popular titles on our main traditional channel, Antena 3.”
For LaSexta, the docuseries Patrolling is enjoying strong audiences. Patrolling features
Jalis de la Serna and the YouTuber Zazza el Italiano, uncovering both the highlights and hidden aspects of cities including Paris, Madrid and Ibiza.”
Atresmedia, like all traditional broadcast entities, is continuously adapting to co-exist with streaming platforms, mainly by creating relevant content aimed at all age groups, according to Salso. “Our catalogue is, and will continue to be, highly varied, encompassing everything from dramas, comedies and entertainment, to documentaries, as well as new formats infused with mystery and role-playing games — alongside the shows Rage and Commando Squad, both featuring content creators with millions of online followers.” He added: “We produce original content aimed at a younger audience, such as the teen drama Red Flags and The Age of Anger. We pride ourselves on creating high-quality and relevant content for all kinds of audiences. This commitment to excellence has seen the Atresmedia brand recognised both nationally and internationally as a hallmark of quality and audience success.”
Atresmedia’s traditional broadcasts and its streaming platform, atresplayer, complement each other and create viewing synergies, Salso said. “What sets us apart from other SVOD platforms is that we offer exclusive and original content that’s only available in Spain. The atresplayer hosts a comprehensive catalogue of content produced by us over the past three decades. It also provides unique benefits for users, such as early access to series and programmes that will later air on Antena3 and La Sexta. These include recently launched series The Turkish Passion, based on Antonio Gala’s novel; and Murders In The Canary Islands, an engaging police procedural. And this year, we have introduced new originals including Dressed In Blue, season two of Veneno, Red Flags and the disruptive tragicomedy A New Sunrise.”
Atresmedia’s principal goals at MIPCOM CANNES this year are to showcase its new line-up and reconnect with clients and industry friends. “We are excited because Spain is the Country Of Honour, making it an especially significant event for us,” Salso said. “We look forward to presenting our innovative content and contributing to the celebration of Spanish audiovisual excellence.”l
The Mediterráneo Mediaset España Group includes the generalist free-to-air TV channels Telecinco and Cuatro, thematic channels and a film-production subsidiary, Telecinco Cinema. Mediaset’s Rocío Cachero explains what Spanish audiences are currently watching
AUDIENCE trends are changing rapidly, reflecting global trends, but there are also some unique local characteristics,” according to Rocío Cachero, international sales manager at the Mediterráneo Mediaset España Group. “One of the most important shifts that we’re seeing is the increasing fragmentation of audiences, as viewers are diversifying their content-consumption habits. This highlights the importance of catering to diverse viewer preferences and enhances the impact of content across multiple channels.” Cachero added: “Linear TV is
“Linear TV is still very much alive for entertainment shows, sports events and news”
still very much alive for entertainment shows, sports events and news, which are best consumed live as such genres produce a shared experience that streaming platforms have yet to emulate. However, lately we have also seen an increased interest in daily series and an appetite for period dramas. And the demand for local content is growing, with local stories and characters attracting greater attention.”
At MIPCOM CANNES, the group is presenting La Favorita 1922, a show that is part of an ambitious plan to deliver high-quality fiction in primetime for the upcoming season. “It’s a new period drama that combines friendship, intrigue, resilience, the fight for love and a passion for cooking. The plot follows five women who join forces to establish the first female-owned restaurant in Madrid, clashing with various social structures that try to suppress them and confronting all the difficulties they find along the way,” Cachero said.
La Favorita 1922: high-quality fiction in primetime for the upcoming season
The new series was produced by Mediaset España in collaboration with Bambù Producciones (Velvet, Grand Hotel, Cable Girls, La Promesa), and comes with high production values and meticulously designed sets that aim to situate the storyline in its historical context, transporting viewers back to the early 20th century. “The track record of successes achieved by the production company, combined with Mediaset España’s extensive expertise in fiction production, has resulted in a series that promises to be highly appealing,” Cachero said. “Two seasons of this period drama were commissioned by Mediaset España, with the second one already in the final stages of production.”
Since streaming services entered the Spanish market, Mediaset has prioritised building robust relationships that benefit both streaming and linear and support the coexistence of both business models. “We work hand-inhand with each platform, formulating and implementing different distribution models. And that’s the key: to work together to find the most beneficial business model for each title, adjusting the exploitation windows to the needs of each party,” Cachero said. “By following this strategy, Mediterráneo has achieved significant success with a range of titles on various platforms.”
Recent examples include The Marquess, a true-crime series broadcast in primetime on Telecinco and later released on Prime Video with significant audience success. Wrong Side Of The Tracks — a thriller about a grandfather who gets mixed up in the world of drug cartels after his granddaughter falls victim to the crime that’s dominating the city — was launched by Netflix after being broadcast by Telecinco and became the mostwatched Spanish series on the platform worldwide in the first half of 2023. The latest seasons of La Que Se Avecina have been exclusively released by Prime Video to strong audiences. La Que Se Avecina is a Spanish television sitcom created by Alberto Caballero, Laura Caballero and Daniel Deorador, set in Mirador de Montepinar, a condominium in the suburbs of Madrid. For Cachero: “The comedy series is the perfect reflection of coexistence, as it consistently has remained in the top 10 most-watched content lists since its arrival on the platform despite several broadcasts on terrestrial TV.”l
THE RTVE Corporation comprises TVE, which offers seven broadcast channels; RNE, with six radio stations; the RTVE.es website; and streaming service RTVE play, the leading free-to-air platform in Spain.
At MIPCOM CANNES, through a number of events as well as a prominent stand inside the Palais des Festivals, RTVE will be promoting Spanish content and the country’s audiovisual industry on an international level. According to RTVE commercial director Rodolfo Domínguez, the RTVE stand will be “equipped with the latest technology and located in a prime area” of the Palais. The corporation will also be active in a number of Country Of Honour presentations and screenings. “It is worth highlighting the invaluable support of ICEX, which has ensured that Spain has been named Country Of Honour at this edition, giving special global prominence to our country’s industry,” Domínguez said.
“RTVE works hard to live up to its reputation and responsibilities as a publicservice media company”
Rodolfo Domínguez
“RTVE works hard to live up to its reputation and responsibilities as a public-service media company,” he said. “This obliges it to guarantee rigour, independence and pluralism in its news reporting and the quality of its entertainment. We take the idea of encouraging debate, innovation and creation very serious-
ly. As we do in the support and dissemination of the arts, science and culture. All this comes under the premise of cohesion and participation.” Domínguez added: “RTVE aims to be present in all relevant social events and to be a mirror that reflects national and international reality in all its variety and richness. It carries out its work following strictly professional criteria and in accordance with its mission to disseminate constitutional values. RTVE defends and promotes the constitutional values of freedom, equality, pluralism and tolerance in all its programming, on which democratic co-existence is based. RTVE’s values are laid down by law and are reflected in what we do.” The corporation is “well-known for its high-quality audiovisual content”, according to Domínguez. “The titles in greatest demand are dramas and thrillers, in both long and short formats.” He added that “productions for teenage and young adult audiences are doing very well, as well as popular documentaries and crime investigation programmes.
Daily series such as La Promesa, Acacias 38, Seis Hermanas (Six Sisters) and Dos Vidas, along with primetime series including La Caza (The Hunt), La Otra Mirada (A Different View), Estoy Vivo (I’m Alive), Ser o no Ser (To Be Or Not To Be) and El Ministerio del Tiempo (The Ministry Of Time), are among our best-selling content.”
RTVE is working to strengthen its channels and OTT offer with new and original content for the whole family. “Our efforts are aimed at increasing our distribution channels through our usual partners and adding new ones,” Domínguez said. “And, of course, we are
Radiotelevisión Española – RTVE — is the state-owned public corporation that provides multistation television and radio services as well as online and streaming services under the RTVE Play brand. Its commercial director Rodolfo Domínguez spoke to Gary Smith ahead of the company’s visit to Cannes
always looking for new ways to promote and communicate. On the other hand RTVE continues to be very active in the production of original and quality programmes for all audiences, programmes which in turn feed our national and international channels.” And RTVE content will be seen further in international marketplaces as the corporation’s streaming service targeted at international markets, RTVE Play+ “will soon be available in Asia and Oceania, so that everyone can enjoy the wide and diverse range of content with RTVE’s quality hallmark”, Domínguez said. With more than 100,000 hours of premium content, RTVE Play+ is already available throughout America and Europe.l
commercial director Rodolfo Domínguez
Movistar Plus+ is the Telefónica-owned subscription platform. It was born out of the merger between Canal+, and Telefónica’s Movistar TV in 2015 and is the largest subscription television provider in Spain with close to four million subscribers.
Distribution manager Fabrizia Palazzo spoke to Gary Smith
IN JUNE 2019, an over-the-top video-streaming service was launched under the brand Movistar+ Lite featuring selected content, but excluding La Liga football matches, cinema and exclusive series. Movistar+ Lite went through a complete overhaul in 2023, and now offers a wider range of content, alongside the majority of the linear TV channels available on the satellite and IPTV offering, making the service similar to Sky’s Now. Over the course of 2023, Movistar Plus+ also renewed its deals with all the major Hollywood studios and now continues to offer that content. According to Fabrizia Palazzo, distribution manager at Movistar Plus+ International, the most important viewing trends in Spain are more or less in line with regional and global tastes: “I would say long-running Spanish drama and crime drama in general are very strong, alongside mystery content. Mature content like history, drama, mystery and thrillers have all been particularly successful. In terms of our in-house content, Movistar Plus+ produces 10 premium TV shows per year, all of them quality series in terms of production and the uniqueness of the topics/storylines.” She added that most of those shows are also a good fit with global audiences, and they manage to do that without losing their Spanish identity. “In terms of the national audience, our comedies work very well, and I’d highlight Little Faith and Dead & Co. as being perfect examples. Little Faith was also adapted for the German market, which
means that the IP that Movistar Plus+ produces can also travel to other countries as formats.”
Dramas and thrillers including Riot Police, Hierro, Marbella and La Mesías are also popular with domestic viewers, as well as on the international market. “They have been very well received, both in terms of international sales and at festival screenings.”
Spain’s largest streaming platform works with traditional free-to-air broadcasters as well as other digital offers. “Movistar Plus+ is the leading platform for Spanish content in Spain, and it co-exists harmoniously with the rest of the national streaming services,” Palazzo said. “That said, Movistar Plus+ is a content platform that works independently from national TV channels, although we do include access to the linear services of the traditional free-TV channels directly from the Movistar Plus+ platform.”
At MIPCOM CANNES, Palazzo and the Movistar Plus+ team “will primarily be looking to consolidate existing relationships with in-
“We are open to building new business relations with partners all over the world”
Fabrizia Palazzo
ternational partners and streamers, as well as with TV channels, and more generally with buyers that Movistar Plus+ has worked with in the past,” Palazzo sayid. “On the other hand, we are also open to building new business relations with partners all over the world. Movistar Plus+ is always open to exploring different ways of co-operating with strategic partners.”
In terms of new content, Movistar Plus+ is presenting its third-quarter slate in Cannes, which includes long-awaited drama series
The New Years. Rodrigo Sorogyen’s The New Years is co-produced Movistar Plus+ and partner ARTE France. It went into production in October last year, shooting in Madrid, Lyon (France) and Berlin (Germany). The series is produced in collaboration with Madrid-based independent production house Caballo Films.
It is also introducing 10 episodes of romantic drama Sorogoyen, which premiered at the Venice Film Festival; alongside Querer, a four-episode courtroom drama that was selected to be screened at the
Sebastian Film Festival.l
DATING In Barcelona will be the biggest fiction series for Barcelona-based distributor and producer Filmax at MIPCOM CANNES this year, according to the company’s head of international sales and co-productions, Ivan Diaz. The series is about the ups and downs of online dating — a mix of comedy, romance and drama, produced by TV3. “We’ll be presenting
six new episodes at the market, plus the six that we produced last year. This is a very cool and sweet romantic show set in Barcelona — a truly great setting. We’re producing it for 3CAT, the public Catalan audiovisual network, and Amazon Prime Spain,” Diaz said.
“Another big offering for our clients at MIPCOM CANNES will be Matador, a
documentary about Ilia Topuria, the Georgian/Spanish UFC world champion. He’s an incredible character with great determination, courage and strong values. He’s already a big international figure, and he’ll be even bigger around the MIPCOM CANNES dates, as his next title fight will happen at the end of October in Abu Dhabi. He’ll be defending his World UFC belt for the first time.”
Matador is a Señor Mono production for Movistar Plus+, launched countrywide in Spanish cinemas in September this year.
MADRID-based Feel Sales is an international sales agency and producer specialising in documentary and fiction films and shorts that tell challenging, human stories. According to sales director Yeniffer Fasciani, Feel Sales’ current most popular show dates back to 2019. “Although Cholitas is a title from five years ago, it is unquestionably still our best seller. It’s a documentary about a unique expedition by five Indigenous women whose goal is to climb the Aconcagua mountain. Their adventure shows an inspiring way of being a woman and of relating to nature.” She added: “On top of that, we offer a significant number of social and human-interest documentaries that resonate universally due to their exploration of relatable realities.”
Alongside the evergreen Cholitas, Feel Sales is bring-
ing a wide range of new 2024 content, including feature fiction, documentaries and shorts. From the company’s fiction slate, thrillers continue to be popular with international clients, Fasciani said. “We’ll be in Cannes with feature-length fiction titles including Natural Phenomena, about young nurse Vilma and her disabled husband in late 1980s’ Cuba, when natural phenomena
sweep her away and she wakes up in a place where it seems her dreams will come true; and Alone In The Night, in which a group of left-wing labour lawyers go into hiding in a house when the coup d’état takes place in Spain on February 23, 1981.”
Feature documentaries include Unusually Normal, featuring ‘Canada’s Gayest Family’; Rapa, about the disappearing Galician
“We’re also very active in animation, as we’re producing 52 episodes and a feature film based on the [popular toy and animation franchise] Superthings. We’ll be making an announcement at MIPCOM CANNES about the international distribution of the TV series, as the first episodes will start broadcasting on RTVE in September,” Diaz said. “And finally, as producers, we’re about to start The Nameless for Movistar Plus+. It’s one of the biggest and most ambitious TV shows being produced in Spain this year, and it’s a new take on the story that Jaume Balaguero directed as a [horror] feature film for Filmax some years ago.” l
mountain horse breed; and Cabin Pressure, an intimate portrait of a successful and single Hungarian woman in Barcelona who embarks on a unique journey towards motherhood and co-parenting with a gay man. The company’s selection of shorts includes My Mother’s Daughter, a comedy drama in which Marina, a young actor from Andalusia, discovers that her grandmother’s Alzheimer’s is very advanced during a visit to her Catalan family.
MIPCOM CANNES is “a great place for discovering new trends”, Fasciani said.
“And you also get to see first-hand which content is working for the buyers. Our goals this year include connecting with key industry players and exploring new opportunities for collaboration and distribution.”
Feel Sales’ titles are available in Spain on TV channels and streaming platforms including RTVE, TV3, Netflix and FILMIN. l
SECUOYA Studios’ MIPCOM CANNES slate includes new title Los 39, which tells the story of the 39 men left behind by Christopher Columbus on the island of La Hispaniola after discovering America. The company is also bringing to Cannes Terra Alta, based on the award-winning novel of the same name; noir thriller Matices; and Arcadia, where the past comes back to shatter everyone’s lives. “All of our shows feature top national and international talent, including Elsa Pataky, Luis Tosar, Hugo Silva, William Levy and Miguel Bernardeau,” Secuoya’s head of international co-productions, María García-Castrillón, said.
Based in Madrid with a number of international headquarters, Secuoya Studios launched its new european sales and global co-production division in the second quarter of this year. García-Castrillón was the division’s first named director. “We are also in the final months of shooting La Encruzijada, based on the show The Brave And The Beautiful,” García-Castrillón said. “And in terms of our catalogue, Zorro and Montecristo are our two most popular titles.” Co-produced with Secuoya and William Levy Entertainment, Montecristo is the Mexican mini-series based on Alexandre Dumas’ 1844 novel The Count Of Monte Cristo.
“New feature films include Invasión, La Bandera, Padres and El Cuento del Lobo,” García Castrillón said. “As with our TV shows, our films also feature well-known national talent, and we are continuously embarking on new projects.”
In Spain, Zorro is currently available on Prime Video; Montecristo on Movistar Plus+; and Campamento Newton — a sci-fi adventure series co-produced with Secuoya Studios and Dopamine — on Disney+. “We have titles on many different platforms and channels, alongside a swathe of unscripted content in the shape of daily shows and documentaries. After theatrical release, our feature-film catalogue is distributed to all
the national players — FTVs, pay TV, and SVODs,” she added. “Our latest shows, including Matices and Terra Alta, will be introduced to the market at MIPCOM CANNES, and alongside these new productions, we will also be looking for co-production possibilities to expand our slate for 2025-2026.” l
MADRID-based Onza Distribution’s current best sellers include Heartless, an Onza ownedand-produced thriller about an imprisoned aristocrat who seeks the most Machiavellian revenge on his captors. “The show reached Nº2 on Amazon Prime Video in Spain when it launched in April 2024, and some sales have already been closed, and will soon be announced,” head of sales at Onza, Béatrice Nouh, said. “Traffic Jam, a comedy series which was launched on Amazon Prime Video in Spain in May, reached the Nº1 spot, and Onza is currently developing two more seasons. We are also selling our mini-series Allende, The 1000 Days, about the 1,000 days of Salvador Allende´s government. It’s a co-production be-
tween Spain’s RTVE and Chile’s TVN that premiered at the San Sebastian Film Festival in 2023.
Outside of Spain and Chile, it has already sold to France, Switzer-
land, Belgium and Portugal, and we are negotiating with several other territories right now.”
Onza Distribution has what Nouh describes as “a generalist
catalogue” that includes fiction, entertainment formats and documentaries.
“We sell thrillers and telenovelas particularly well, but we also have some great entertainment formats that attract broadcasters from different parts of the world,” Nouh said. “In documentaries, Young Addictions has been sold to broadcasters in many countries including Germany’s ZDF. Our wildlife documentaries also attract a good number of buyers, and at MIPCOM CANNES we are launching a new series, Iberia & Savannah, that tells the stories of the large predators that inhabit both lands and how some even travel from one landscape to the other, despite being separated by thousands of miles. Also at MIPCOM CANNES, we will be looking for co-production partners who share the same attitudes and values as us.”l
FORMED in 2002, Ánima is a family entertainment company headquartered in Mexico City, with studios in Madrid, the Canary Islands and Buenos Aires, and specialising in 2D and CGI animation. It is the parent company of Ánima Kitchent, based in Madrid, whose primary output is movies, music and entertainment.
Miguel Aldasoro, international sales and co-production director of Ánima Kitchent, will be showcasing the preschool 2D comedy series Tippi T-Rex at MIPCOM CANNES, alongside the second season of the highly successful 3D series Cuquin.
“With 26 episodes of Tippi T-Rex already set for completion and available by Q4 this year, we are taking a different approach from the outset and are currently looking for co-production partners to support us in the production of
the second half of the planned episodes. We have the flexibility to decide whether it will be programmed first on television, or debut on digital platforms to evaluate its performance,” Aldasoro said. “The project has been made to be adaptable and versatile for whichever broad -
cast window will benefit the series the most, whether it’s on broadcast television, or in the digital environment. In terms of our overall offering for MIPCOM CANNES, we are presenting content that fits both traditional programming needs and the new demands of digi -
Miguel Aldasoro
WITH SPAIN as Country Of Honour, Virginia Mouseler of research consultancy The WIT, is presenting a special Spain Fresh TV Showcase on Tuesday afternoon. In the lead-up to MIPCOM CANNES, Mouseler and her team have been diving deep into the world of Spanish TV production, looking at every genre and format that’s currently being aired, in order to present the very best new shows and series from one of Europe and the world’s production powerhouses.
“It’s a real pleasure researching and screening Spanish TV con-
tent,” Mouseler said. “In every genre, you’re sure to discover life, creativity, freedom, new
Virginia Mouseler
points of view and projects that dare to step outside the normal rules.” Some of the producers
tal platforms, ensuring that our productions are attractive and accessible to different markets and platforms.”
Ánima Kitchent has also partnered with Warner Bros. Discovery (WBD) for the second season (20 x 5 mins) of Cuquin, a 3D adventure comedy series, currently in production at the company’s studios in the Canary Islands. Season two follows the adventures of Cuquin, Clementina and Cyan, three exuberant toddlers who love playing together at nursery, with the premiere planned for 2025 on Max and Cartoonito in Latin America.
“MIPCOM CANNES is one of the most important markets globally for our industry, and the fact that Spain has been selected as the Country Of Honour is a great opportunity for us. It gives greater visibility to content produced in Spain generally and to Ánima Kitchent. This allows us to present our products to potential clients, distributors and international buyers, facilitating the show’s commercialisation on a global level.” l
behind the shows that Mouseler has chosen will join her on stage to discuss their latest work. “The Spanish TV industry is healthy, boosted by both national and international streaming platforms — and, of course, the always hungry Latin market,” she said.l
As MIPCOM CANNES prepares to welcome arrivals from this year’s Country Of Honour, one notable characteristic of the Spanish delegation is the high number of women in senior positions across the country’s entertainment industry. Andy Fry and Julian Newby report
THE PREDOMINANCE of women in senior positions across the industry is strong in Spain, and notably among leading broadcasters. Concepción Cascajosa Virino is currently acting president of public broadcaster RTVE; and Cristina Garmendia recently took up the same role at Mediaset Espana. But scratch beneath the surface and creative, entrepreneurial women can be found at the helm of numerous Spanish production and distribution ventures.
A case in point is The Mediapro Studio, where Laura Fernández Espeso is CEO. Having laid
out her company’s ambitious expansion strategy during a MIPCOM CANNES 2023 keynote, Espeso is back in Cannes to talk about the company’s US and Canada expansion
“It’s a fact. Women are increasingly taking on key roles in the Spanish audiovisual industry”
Elisa Carbonell
plans. She will be joined by JC Acosta, head of the studio’s North American division, as well as the studio’s creative leadership Erika Kennair, head of scripted content, and Pam Healey, head of unscripted content.
Another Mediapro Studio leader coming to Cannes is Marta Ezpeleta, director of distribution and co-productions.
“It’s a fact,” ICEX CEO Elisa Carbonell told us ahead of MIPCOM CANNES 2024.
“Women are increasingly taking on key roles in the Spanish audiovisual industry. This growing female presence is the result of effective government equality policies, as well as the combined efforts of industry leaders and administrations to ensure that women receive the visibility they deserve.”
Carbonell added: “The talent of women at all levels of the Spanish audiovisual industry is remarkable, and they are earning well-deserved recognition on the international stage.
From directors like Carla Simón and Alaúda Ruiz de Azúa, to screenwriters such as Clara Roquet and Isabel Peña, to showrunners like Amaya Muruzabal and Marta Sarmiento, and top executives like Marta Ezpeleta, Cristina Burzako and Laura Fernández Espeso — these are just a few examples.
“I could go on, but fortunately, the list of talented women in the industry is long and
growing, and I’m confident it will continue to expand even more in the near future.”
Other Spanish companies where women have been a driving force include StudioCanal-backed Bambú Producciones. Development director Gema Neira, for example, has played a pivotal role in creating some of Bambú’s top international exports. Teresa Fernández-Valdés is a co-founder of Bambú’, who has recently set up her own company Te espero en Marte.
It’s no exaggeration to suggest that Fernández-Valdés has transformed the profile of Spanish scripted content globally through titles including Grand Hotel, Velvet, The Cable Girls and The Cocaine Coast, among others. Alongside these successes, Bambú became the first Spanish production company to co–produce a series with BBC Worldwide, The Refugees; and has been a key supplier to Movistar, Netflix and Apple. Forbes named Fernández-Valdés as one of the most powerful women in Spain and MIPCOM CANNES awarded her with the Médaille D’Honneur. Fernández-Valdés will be in Cannes to discuss her ambitions for the new venture, which is also backed by StudioCanal. Speaking ahead of MIPCOM CANNES, she said her top priority is “to meet with interna-
“We are living in a more demanding time, and we have to be more awake than ever”
Teresa Fernández-Valdés
tional producers whose countries of origin are far from Spain, and who usually travel to Cannes to keep ties with other production companies alive. Together we will analyse new opportunities that may arise.”
On Spain’s status as Country Of Honour, Fernández-Valdés said it will “guarantee a dynamic and fun market. Spain is characterised by excellent products in all professional fields: audiovisual, gastronomic, tourism... And the fact that it is prominent this year at Cannes will shine a light on the work that has been done for so many years, as well as on the artistic and technical talent that we have.”
In terms of industry trends she singles out two — one commercial and one creative: “The first is that there is a significant reduction in the budgets of streamers, and the period of high demand is over. I do not think this should scare us, but it means we are living in a moreb
demanding time, and we have to be more awake than ever. The second is that period series are triumphing again. I think the Turkish dramas that were successfully introduced into our country have pushed audiences and producers back towards romantic dramas, and stories of power struggles and revenge.”
Other women executives who have been instrumental in taking Spanish content to the world include Laura Miñarro, vice-president of international co-production at Buendía Estudios — the company behind acclaimed series including Veneno. Miñarro’s career has taken her via Globomedia, Mediapro and Eccho Rights, and now she is responsible for the strategic and commercial development of international co-production projects. Key developments at Buendía Estudios have included an agreement with Universal International Studios to co-develop and produce original series, and to adapt NBCUniversal formats for Spanish-speaking markets.
On the eve of MIPCOM CANNES, Miñarro said the big trend in the global content market right now is “undoubtedly the opportunity for co-productions to enable platforms to fulfil their content needs despite budget restrictions”. She added: “We see this as a trend that will complement the slate of originals and allow production companies to consolidate a relevant role, not only as content creators but also as key players in the financing and distribution of projects. We are convinced this is the right path to remain competitive in the European and US markets.”
She said that Buendía Estudios is “working along these lines — implementing a strategy that is already a reality in other regions and is starting to thrive in Spain. However, it requires flexibility from the different players to accept the conditions implicit in these types of models, from the sharing of IP to windowing openness.”
Spain’s production prowess is evident right across the country. In Galicia, for example, Mamen Quintas co-founded Ficción Producciones more than 20 years ago, with partner Julio Casal. Today the firm employs 60 people. “Our top priorities at MIPCOM CANNES are to showcase our latest projects, explore co-production opportunities and establish new partnerships with international distributors,” Quintas said. “We aim to expand the global reach of our content, particularly in scripted series and feature films, and to seek collaborations that align with our vision.”
Spain as the Country Of Honour at MIPCOM “is a significant recognition of the strength and
creativity of our audiovisual industry”, she said. “It will bring greater visibility to Spanish productions and provide more opportunities to connect with international partners. This spotlight on Spain will help highlight our rich storytelling tradition, our talented professionals and the diversity of genres we work in.”
On the issue of gender balance in the audiovisual sector, she said: “Spain has made great strides in promoting women to leadership roles. This is partly due to the increasing number of highly qualified women entering the field and the growing openness of companies and institutions to allow them to lead. There has also been a concerted effort to create policies and initiatives that support gender equality. From our perspective at Ficción Producciones, working with teams led by women has been incredibly beneficial, contributing to a dynamic, creative and efficient workplace.”
Despite this progress, there is a recognition that more work needs to be done to achieve gender balance. María García-Castrillón, co-productions director at Secuoya Studios, said: “A lot of progress has been made, but there is still so much to do. We need our institutions to support us more on this path — and Spain, like the rest of Europe, still has a long way to go. Certain rules have been implemented on subsidies to promote our role, but they fall short. There are still a few of us in leadership positions — perhaps more than in other countries, but still insufficient.”
An experienced figure on the international production scene, García-Castrillón agreed with her peers that the economic crisis at the global streaming companies has “brought about a reduction in budgets and opened a new trend towards international co-production. We’rwe seeing a return to the multi-window financial model, where you need more channels from different places to get to a greenlight in production.”
In terms of other MIPCOM CANNES talking points, García-Castrillón singled out content discovery as a live issue: “The oversaturation of production means many viewers are spending more time watching trailers and choosing content than they are enjoying it. It is very difficult to stand out. I think that is our biggest challenge at the moment.”
For Amaya Muruzabal, showrunner, content executive and CEO at M Content, MIPCOM CANNES is the perfect place for her to introduce the company to the international marketplace, and to share her aims
THE MOMENT when the world witnessed the peak of international women’s football so far, the Spanish football team winning the Women’s World Cup in 2023 after a stunningly successful tournament, was also the moment that rocked the foundations of Spanish football and led to global repercussions. That earthquake was a kiss, deemed non-consensual, planted by Luis Rubiales, the president of the Spanish Football Federation, on the unwilling lips of star player Jennifer Hermoso.
And now a documentary film telling this story, produced by Madrid-based You First Originals, is to have its worldwide premiere on Netflix on November 1. It’s All Over: The Kiss That Changed Spanish Football features neverbefore-seen statements from the players, revealing previously unknown details and analysing the key aspects of the social movement that captured global attention after Spain’s victory. The movie looks at what the players went through behind the scenes — the pressures, threats, manipulation and misogyny; and the anger that pushed them to fight back against the institution that had marginalised them, and the generations before them.
The woman who directed the film, Joanna Pardos, said: “It’s a privilege to have such personal testimonies of a milestone that has marked a before-and-after in the sports and social history of our country.” Executive co-producer Javier Martinez is taking part in the Streaming Platforms – A Wealth Of Opportunities session in the Producers’ Hub on Thursday, October 24.
It’s All Over: The Kiss That Changed Spanish Football
and objectives with prospective global partners and collaborators.
“We are a company that is born from writing talent with extensive experience in premium TV, which has had a great impact on its respective countries. We are the producing and writing talent behind successful series such as El amor después del amor (Love After Music, Netflix), an enormous success in Argentina and a cult TV series among those who love Latin classic rock music,” she said. Also from M Content, Reina Roja (Red Queen, Prime Video), is one of the top Spanish series in 2024; and Hernan (Prime
Video, History Channel, TV Azteca), “the only premium series which dared to tell the story of Mexico’s conquest with a multi perspective approach.” Muruzabal added: “At M Content we are half Spanish, half Latin American, with headquarters in Madrid, CDMX and Argentina. We want to continue to take a cinematic approach to TV stories that can reach big audiences by saying that we are in a complex, diverse and exciting mixed world. We are proud to speak Spanish and eager to reach non-Spanish-speaking audiences through the underlying universal emotion in local stories.”l
19h at the Majestic 21h30, Fireworks
A couple of hours from most European cities, a film-friendly climate and locations ranging from deserts to coast to high-tech cities. These are some of the many reasons why Spain is currently one of the world’s most popular shooting destinations. Gary Smith reports
SHOOTING in Spain was created to promote Spain as an attractive destination for foreign-film shoots and investments in the audiovisual sector, and is a brand launched by ICEX-Invest in Spain, part of the public entity ICEX España Exportación e Inversiones under the Ministry of Economy, Trade and Business. ICEX-Invest in Spain is dedicated to fostering direct foreign investment and supporting entrepreneurs looking to establish their businesses in the country. As part of this effort, ICEX-Invest in Spain is focused on attracting foreign shoots and investments to the Spanish audiovisual sector.
“To determine whether 2024 will be another record year in terms of audiovisual production in Spain, we will still have to wait a few more months. However, the outlook, based
on the information provided by companies here, is very positive. But success should not be measured solely by the number of projects carried out,” executive director of ICEX-Invest in Spain, Elisa García Grande, says. “Other determining factors, such as the duration of the shoots, the time the crews spend in the country, the employment contracts generated, and the economic impact both regionally and nationally, need to be
“Producers tell us that to shoot in Spain was their best decision, and that they will do it again”
Elisa García Grande
considered. Also, the loyalty of international companies and their levels of satisfaction are extremely important. The greatest success is hearing them say in international forums, as we experienced during the last Marché du Film in Cannes — from German and British producers — that shooting in Spain was the best decision, and that they will do it again.“
The Spain Audiovisual Bureau was launched by ICEX in 2022, offering a centralised support service for companies interested in carrying out audiovisual projects in the country. Since its launch, it has assisted nearly 1,000 companies. “It’s a free service that allows professionals to make inquiries through a single point of contact, guaranteeing a response within 48 hours,” García Grande says. “A team of expert consultants helps foreign companies to understand the Spanish audiovisual sector, including available incentives, administrative processes and establishing connections with local production companies and authorities.”
The Shooting in Spain brand offers additional tailored sector advice, business opportunity identification, institutional support, assistance with company set-up, connections with investors and aftercare services. These services, along with the lack of restrictions on foreign investment, make Spain an attractive location for both filming and establishing business operations. “Moreover,” García Grande says, “our strategic position as a bridge between Europe and Latin America provides access to a dynamic market of over 1.9 billion potential customers. Our double taxation treaties with 99 countries facilitate the repatriation of profits, enhancing Spain’s role as a key destination for international investments. Our location is particularly valuable for the audiovisual sector, given the large Spanish-speaking market, which is home to over 750 million consumers and more than 600 million native viewers of Spanish-language content.”
Spain is increasingly becoming a go-to destination for international companies looking to establish themselves. “For example, BBC Studios recently acquired Barcelona-based Brutal Media to create Spanish-language content. Beta Film, which has been operating in Spain for several years, has also established a strong presence, producing content directly in Spanish,” she adds. “Additionally,
many international animation studios have chosen to set up operations in the Canary Islands, benefiting from the region’s incentives and strategic advantages. Companies like Fortiche Production, known for their work on the hit series Arcane and Skydance, is taking full advantage both of Spain’s status as a European hub, and the local support available to them.”
Reflecting the growing international reputation of Spain’s production services companies and crews — and Madrid’s growing importance as a European media hub — Madrid-based Atlantia Media International is servicing the second season of Neil Forsyth’s The Gold for BBC Drama and Forsyth’s Tannadice Pictures, in association with All3Media International. Following the success of the first series, the six-parter will follow what happened to the other half of the Brinks-Mat gold stolen in the daring 1983 raid, after police realise those convicted hadn’t kept all of it.
“We have produced our own shows, we stick to our budgets, and we know how to get the best from the tax incentives in the Canary Islands and on the mainland,” producer at Atlantia Media International, José Sinde, says. “We are not just a production services company, we are a partner. And we are realists. We know that sometimes the biggest shows are not the most challenging. Sometimes the biggest complexity is to stay on budget, and at the same time, maintain the quality in front of the camera.”
Shooting in Spain and ICEX-Invest in Spain are preparing an extensive programme for MIPCOM CANNES, featuring keynotes, panels and presentations: “We want to give an overview of the state of the industry in Spain, with the participation of filmmakers, talent, showrunners and top executives,” García Grande says. “Alongside that, through our Shooting in Spain brand, we’ll have a dedicated team on hand specifically to assist producers with any questions they may have. Whether it’s about how to get started, who to contact, or details on available support and incentives, we’ll be there to provide clear and personalised guidance.”
Alongside Shooting in Spain’s comprehensive offer, the cost efficiency, the light, the many amazing and hugely varied locations and sophisticated infrastructure, Spain also boasts several studios and first-class technicians: “Ciudad de la Luz stands out for its modernity and versatility, allowing us to adapt to any type of audiovisual production,” Fermín Crespo, managing director at Ciudad de la Luz Film Studios, says. “We offer six state-of-the-art stages, two expansive outdoor areas and three water tanks — two indoor and one outdoor spanning 8,000 sq m — ideal for both surface and underwater filming. Located in Alicante, our studios benefit from excellent national and international connections, a great variety of natural and urban locations, and an exceptional climate with over 300 days of sunshine per year.” Crespo adds: “In the past six months, we’ve hosted significant productions like Venom: The Last Dance, directed by Kelly Marcel, as well as El Cautivo by Alejandro Amenábar, Mala Influencia by Chloé Wallace and Los Tigres by Alberto Rodríguez. These projects fully utilised all our facilities, from stages to water tanks, showcasing the versatility and technical capacity of Ciudad de la Luz. Currently, several major productions are under way.”
Further north on Spain’s eastern coast is Barcelona’s Parc Audiovisual de Catalunya. “The operational and technical capacity of our sets combined with the privacy and comfort of the spaces attached to the stages is what makes this place so special,” managing director at Parc Audiovisual de Catalunya, Cristina Brandner, says. “Being in a natural environment relatively far from an urban centre, with easy access and big parking areas, allows us to offer comfort and maximum confidentiality for production teams. The location of the stages and the size of the site (50,000 sq m) allows us to accommodate several shoots at the same time, and the Terrassa Film Office also operates from the Parc Audiovisual, managing film permits in the city. With the studios and location management in Terrassa, we offer production companies the possibility of concentrating their shoots in the same area.”
Recent productions at the facility include Omega’s global campaign for the Olympic Games, Lasse Hallström’s The Map That Leads To You and Brett Haley’s People We Meet On Vacation. “Parc Audiovisual will be constructing
two new stages of 2,500 and 1,200 sq m, which will double the sound-stage area and, therefore, the capacity to attract national and international filming,” Brandner adds.
Gran Canaria Studios is becoming a strategic location for all types of audiovisual productions. “On the one hand, it offers highly competitive tax incentives for feature films and series, as well as experienced production companies and crew,” head of the Gran Canaria Film Commission, Nuria Guinnot, says “Additionally, the mild climate and the variety of nearby locations offer great advantages, and custom-built infrastructure allows the studio to host various shoots over extended periods.”
“We always advise directors and showrunners to make sure they have a local team with real experience”
Michael Friedl
Recent productions include two films based on the American book series Three Investigators (Die Drei Fragezeichen), produced simultaneously by Wiedermann & Berg Film for Sony Pictures, with local service company Seven Islands Film also involved. The two films were shot over four months, with a total budget of €16m. “A technical crew of 100 people participated, approximately half of whom were local professionals, along with more than 30 companies and suppliers from the island,” Guinnot adds.
Seven Islands Film also serviced Alice & Jack, the six-part PBS drama series about a romance between Alice (Andrea Riseborough) and Jack (Domhnall Gleeson).
“One piece of advice we always give to directors and showrunners is to make sure they have a local team with real experience,” founder & CEO of Seven Islands Film, Michael Friedl, says. “What truly makes the difference is not just comparing prices, but also evaluating the team’s experience and the personal relationships that are built on set. In any audiovisual production, close collaboration and trust are key to success. We pride
ourselves on maintaining excellent relationships with all the elements involved in a production: from the local crew and suppliers to accommodation and local authorities. We understand that the success of a production depends on taking care of every part of the process, and at Seven Islands Film, we take every detail seriously, ensuring that our clients trust us to keep working together on future projects.”
Friedl’s MIPCOM CANNES objectives include growing the strategic side of Seven Islands Film: “We aim to further position Seven Islands Film as a strategic partner for all types of projects, offering our deep knowledge of Spain and the Canary Islands as filming destinations, and our ability to efficiently manage complex productions. Additionally, we are looking to expand our portfolio and explore new market trends that can offer added value to both our current and future clients. If you are looking for a reliable production company with the experience and flexibility to handle any type of production, we invite you to get in touch with us.” l
19-22 November 2024
Cancun, Mexico
23-27 February 2025
London, United Kingdom
11-12 October 2025
Cannes, France
13-16 October 2025
Cannes, France
Spain is in high profile at MIPCOM CANNES this year. Here we focus on some of the content brought to Cannes from this year’s Country Of Honour
SPANISH-German distributor 3Boxmedia is at MIPCOM CANNES with four headline titles in the nature genre. Polecat. Europe’s Relentless Hunter (1 x 52 mins/4K) reveals one of Europe’s most ferocious and least-studied carnivores. Iceland: The Awakening Of Life (1 x 50 mins/4K) explores how animals on land and in sea, and multitudes of birds, overcome the island’s inhospitable territory. The line-up is completed with Greece: The Land Of Birds Of Prey (1 x 51 mins/HD) and Harrier’s Plight (1 x 52 mins/HD). Social and current affairs documentaries include: Revolution 3.0 (1 x 52 mins/78 mins/HD), highlighting the impact of social media on the protests in Iran; and the French production In The Shade Of The Hills’ (1 x 52 mins/83 mins/HD), about the efforts of a group of young people to prevent Rwanda becoming fertile ground for a new genocide.
ONZA Distribution is prioritising several new series releases — produced by Onza — at MIPCOM CANNES. Traffic Jam (6 x 25 mins) is a comedy starring 25 iconic Spanish TV actors and portrays stories that unfold during a traffic jam. Heartless (8 x 45 mins), is a thriller about an imprisoned aristocrat who plots revenge on his captors. From the factual catalogue, Iberia & Savannah (1 x 52 mins) is an upcoming 4K documentary, by Azor Producciones in collaboration with Onza, which explores the Dehesa ecosystem of the Iberian Peninsula and its similarities to the African Savannah. Additionally, the company is showcasing Portuguese primetime telenovela, Cacao (220 x 50 mins).
BARCELONA-based Sideways Film presents Fortitude: Forging The Trillion Dollar Space Economy (1 x 52 mins/90 mins) at MIPCOM CANNES. Including recent technological breakthroughs, this documentary investigates the new space renaissance. Another priority is Aquarius: Dreamers, Tree-Huggers And Radical Ratbags (1 x 52 mins/80 mins), the story of a 10-day festival held in Nimbin in Australia in 1973, profiling the police interference, internal chaos, drugs and personal drama experienced in order to try to fulfill a vision. Further titles on offer include Bull Run (1 x 56 mins/80 mins), following one woman’s obsession with Crypto trading; and The Caravan (1 x 52 mins/76 mins), following a family from Honduras to the US.
BARCELONA-based studio Filmax returns to MIPCOM CANNES with a slate of new content, including the new season of Dating In Barcelona (12 x 50 mins) a romantic comedy produced by Filmax for 3CAT (the Catalan public network) and Amazon Prime Spain. Filmax is presenting six new episodes in Cannes. Another priority is Matador (1 x 95 mins), a documentary about Ilia Topuria, the Georgian/Spanish UFC worldwide champion. Matador is a SR Mono production for MovistarPlus+.
NEW CONTENT on show from 3CAT (formerly Televisió de Catalunya) includes fiction, factual and new formats. Delta, a thriller led by female protagonists, takes place in the breathtaking environment of the Ebre Delta, where traditions are still deep-rooted, and tells the story of the disappearance of an environmentalist. Romcom series Dating In Barcelona is due to return for a second season, alongside 3Cat’s original coming-on-age drama set in a summer camp, Never Have I Ever. Further dramas include This Is Not Sweden, Asphalt and Vintage. Documentary series include The Signing, which unveils the secrets of Johan Cruyff’s signing for FC Barcelona, and Núñez, portraying Barça’s legendary president. Another priority is documentary film Time Out, which visits the red carpets of various festivals.
NEW DRAMA El Gran Salto (The Big Jump/5 x 50 mins) is brought to Cannes by Atresmedia. The series tackles the timely issue of mental health in elite sports, focusing on the Olympic champion Gervasio Deferr, a gymnast who rose from anonymity to stardom, experiencing the heights of athletic glory and the depths of personal destruction due to drugs, alcohol and an obsessive mindset. Other titles on the roster include: new telenovela Sueños de Libertad (Dreams Of Freedom/236 x 50 mins, which has just confirmed its second season; and Vestidas de Azul (Dressed In Blue/7 x 50 mins), which has been sold in more than 40 countries around the world.
CONTENT brought to MIPCOM CANNES by Mediaset includes: La Favorita (8 x 70 mins), a drama set in 1920s Spain, produced by Mediaset España and Bambú Producciones and featuring a marquise and her maid who flee to Madrid and open a restaurant; police series Detective Romi (8 x 70 mins), produced by Joko TV in collaboration with SCAC for Mediaset España, about a deaf private detective who can interpret non-verbal communication and detect lies; Wine Wizard, a three-episode documentary following winemaker Raúl Pérez on his quest to produce a garnacha wine at an altitude of over 1,000 metres, produced by Mediaset España and Zanskar Producciones; and The Marquess (6 x 70 mins), a truecrime series about five farm workers who were murdered in 1975 and the journalist who uncovers a dark secret involving a corrupt aristocrat.
MOTION Pictures Entertainment presents its latest production, The Black Diamond Race (9 x 45 mins), an exhilarating story set in the 1920s. The show follows a high-stakes car race in search of mysterious diamond and featuring car chases across stunning landscapes in India and Europe. The series is the result of an international collaboration with Gruppo Alcuni, Broadvision, RTVE, and RAI Kids, and is aimed at all ages over seven.
QUERER (4 x 50 mins) is a new drama brought to MIPCOM CANNES by Movistar Plus+, which had its world premiere at the San Sebastian Film Festival and is the first TV series directed by filmmaker Alauda Ruiz de Azúa. The story is about 53-year-old Isabel who goes to the police station with her lawyer and accuses her husband of ongoing sexual assault throughout a seemingly perfect marriage that has lasted for over 30 years. Other new titles on the slate include: The New Years (10 x 50 mins), about the on-and-off relationship between thirtysomethings Ana and Oscar; and thriller Second Death (6 x 60 mins), about Sandra, a 29-year-old police assistant in a northern village who joins a group of workers to shore up a cabin on the brink of collapse. Their plans are disrupted when, inside, they discover an elderly woman who has recently passed away, a situation that seems impossible because the deceased woman was buried seven years ago, with the entire town attending the funeral.
BARCELONA-headquartered producer and distributor Mediapro is highlighting a variety of programming at MIPCOM CANNES, including: psychological thriller The Head, produced by The Mediapro Studio and Hulu, with the third season set in the Sahara Desert; Celeste, a Movistar Plus+ Original in co-production with 100 Balas, about a tax inspector who has to prove that a huge Latin star lives in Spain and is obligated to pay her taxes there; family quiz show Crush, in which teams compete with help from a celebrity to avoid being ‘crushed’ by a huge safe suspended above them; drama/comedy Consuelo, set in the 1950s; Quiet, an eight-episode murder thriller set in 2020, when the streets of Barcelona are empty; and Witness 36, a spy-thriller series about a female writer who creates fictional identities for a witness protection programme, who becomes entangled with a mysterious man whose past resembles one of her creations.
INDEPENDENT Spanish animation producer Ánima Kitchent , based in Madrid, offers 2D preschool series Tippi T-Rex (26 x 5 mins) to buyers at MIPCOM. The series is currently in production and scheduled for a fourth quarter 2024 delivery, with an additional 26 five-minute episodes seeking co-production partners. Tippi is a four-year-old T-Rex who lives with her parents, and big brother, in a world inhabited by dinosaurs and other prehistoric species. She has a lot of imagination and is infinitely curious about the world around her. Tippi loves to play with her best friends, and loves to talk, even with Lucy, her T-Rex rap-singer doll.
PUNTO Nemo (6 x 45 mins) is a drama that follows an oceanographic expedition that plans to visit the enormous plastic island in the Pacific in order to raise awareness. Accidentally, they land at an island with an old military base and struggle to escape the island alive. The series from Ficción Producciones is a co-production with Portugal and, despite strong Spanish DNA, it is an international story with actors from Portugal, Belgium, Cuba and Colombia, as well as Spain.
