MIPTV 2019 DRAMA SPECIAL REPORT

NEWS April 2019

DRAMA

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SPECIAL REPORT

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CONTENTS

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4 Follow the story In the golden age of scripted content there are no longer any barriers to language or culture

16 We’re buying

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Commissioners, buyers and distributors talk about their aquisition strategies for scripted

20 ‘A genuine laboratory of creativity’ InDevelopment, the Cannes Drama Creative Forum

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25 A first-look at tomorrow’s stories

The 2019 MIPDrama Buyers’ Summit unveils 10 new scripted series from around the world

32 ‘Glamour, style and a pink carpet’ After a spectacular launch in 2018 CANNESERIES is back in Cannes

// DIRECTOR OF PUBLICATIONS // Paul Zilk // MARKETING DIRECTOR // Mathieu Regnault / EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editor Joanna Stephens Contributors Andy Fry, Juliana Koranteng Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres / PRODUCTION DEPARTMENT / Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Creative and Production Officer Yovana Filipovic Printer Riccobono Imprimeurs, Le Muy (France).

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TRENDS

The Mallorca Files (BBC Studios)

Follow the story

In the golden age of multi-screen scripted content, there are no longer any golden rules when it comes to geography, genre, length or language. What’s most important, writes Andy Fry, is a good story, well told WHILE the quality of scripted TV content coming out of the English-speaking market continues to astound and amaze, one of the most refreshing dimensions of the recent global drama boom has been the growing appeal of non-English language and multi-language dramas from around the world.

My Brilliant Friend, Das Boot, Where Heroes Fly and Babylon Berlin are just a few recent examples of shows that are challenging traditional assumptions about what audiences are willing to watch.

For MIPTV, Banijay comes armed with Hierro, produced

by Portocabo and Atlantique Productions for Movistar+ and ARTE France. Shot on the island of El Hierro in the Canary Islands, it is visually intriguing and stars well-known movie actors Candela Pena and Dario Grandinetti. Also on Banijay’s slate are suspense-driven drama Hidden (Yellow Bird for Viaplay and TV3 Sweden) and Les Ombres Rouges, a six-part thriller about a woman who returns home after having been kidnapped, presumed dead, 25 years earlier. “We

Caroline Torrance, head of scripted at Banijay Rights, has been in the vanguard of this development. “The playing field has really levelled in recent years,” she says. “Buyers are far more open to dramas in any genre, from any territory and in any language. The key is that the story must be well told.”

Caroline Torrance: “Buyers are far more open to dramas in any genre, from any territory and in any language. The key is that the story must be well told” Drama Special Report •

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are also launching Wisting, commissioned by NENT for Viaplay, TV3 and German public broadcaster ARD,” Torrance says.

Another noticeable aspect of Banijay’s line-up is its emphasis on cross-border partnerships.

“It’s certainly become more complicated to finance highend dramas, hence the rise in large co-productions,” Torrance says. “Luckily, we have companies in 16 territories, which means we’re trusted by local broadcasters and have a greater network to tap into. To have access to wide-ranging expertise

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TRENDS and relationships is essential in this climate.”

In terms of trends, Torrance says serials remain popular. But she is also seeing a resurgence in demand for episodic series: “Buyers are showing interest in series that have standalone episodes and can be repeated in a variety of ways.” Examples include Rebecka Martinsson, which can be aired as four standalone stories or as a series.”

Studiocanal is launching 11 series — both new and new episodes of returning series — in seven languages at MIPTV. “Our headliners include Instinto, produced by Bambu Producciones for Movistar+,” says Francoise Guyonnet, Studiocanal’s executive managing director of TV series. “Created by executive producers Ramon Campos and Teresa Fernandez-Valdes, this is an erotic thriller starring Mario Casas as a tormented young businessman who regularly escapes to a private club to fulfil his fantasies.”

Also on the slate are Sanctuary, a thriller from Yellow Bird in co-production with TMG (Tele Munchen Gruppe); and Vernon Subutex, set in Paris and inspired by the novels of Virginie Despentes. Both are illustrations of how “theatrical talent continues to grace the small screen”, Guyonnet says. “French household name Romain Duris stars in Vernon Subutex, while Matthew Modine plays Dr Fisher in Sanctuary.”

Studiocanal also has screen legend Emma Thompson starring in Years And Years, one of the English-language series on the company’s slate. Written

by Russell T Davies, the drama follows the lives of a UK family over 15 years, as their country is rocked by unstable political, economic and technological advances. Produced by Red Production Company, the six-part

series is another example of cross-border collaboration, with BBC One, Canal+ and HBO all participating.

In addition to Years After Years, Canal+’s Spiral returns for its seventh season, Guyonnet says.

The gritty French crime drama also has a strong female lead, this time played by Caroline Proust (The Tunnel). “Buyers continue to look for dramas with strong female characters,” Guyonnet says.

For example Sanditon, a series named after the fictitious English coastal town in which Jane Austen’s final novel is set — left unfinished when she died.

Austen completed chapter one, which translates onto the screen as episode one of Sanditon, and then the imagination of veteran writer Andrew Davies takes over as, in the remaining seven episodes, he follows the life of the book’s heroine, the impulsive and unconventional Charlotte Heywood, played by Rose Williams. “It’s been such fun to develop Jane Austen’s fragment into a series,” Davies says.

“Now I’m eager to see our exceptional cast bring Sanditon to life.” Sanditon is a Red Planet Pictures production commissioned for ITV by Polly Hill and for Masterpiece by Rebecca Eaton who is also executive producer with Belinda Camp-

Hierro (Banijay)

bell for Red Planet Pictures and Andrew Davies. BBC Studios is international distributor.

Bavaria Fiction’s MIPTV slate includes Das Boot, Brecht and Bella Germania. Brecht follows the life of the great German dramatist, while Bella Germania is “an elaborate three-part event series for ZDF that spans several generations”, says Bavaria Fiction’s chief creative officer Oliver Vogel. “Bella Germania traces the fortunes of the first wave of Italian immigrants to Germany, from the 1960s to the present day. It has been picked up by Italian public broadcaster RAI and is available from ZDF Enterprises.”

Vogel also highlights Freud, created for Netflix and ORF. The mystery thriller, directed by Marvin Kren (4 Blocks), portrays the founder of psychoa-

Instinto (Studiocanal)

Drama Special Report •

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nalysis before his rise to fame.

According to Vogel, the success of Das Boot, which has sold to 120 territories, including Hulu in the US, is an indication of the market’s demand for multilingual shows: “This has become the new normal as global streaming services and local OTT players open up the market and create slots to fill.

Multi-language dramas are an indicator of the demand for authentic storytelling.”

Oliver Vogel: “Multi-language dramas are an indicator of the demand for authentic storytelling”

Bavaria Fiction is a relatively recent entrant into the ferociously competitive global drama market. Vogel says the key to success is “not to try to match the pace of the market, but to position yourself as the highest quality scripted producer in the business”. In terms of the creative process, he adds: “Series still need an original story, exciting characters and conflicts.

However, what has changed is that there are more and more series, and there are often several writers involved.”

While Bavaria Fiction’s support for Das Boot has a clear logic to it, Sonar Entertainment’s heavy investment in the series was more of a surprise. But the company’s president of global distribution and co-produc-

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TRENDS

Bella Germania (Bavaria Fiction)

tions, David Ellender, is delighted with the decision: “Das Boot has received critical acclaim everywhere it has premiered and has enjoyed record ratings in the key Sky territories. We’re excited about season two, which began production in March, and we look forward to the US premiere on Hulu this year.”

As to Das Boot’s success, Ellender says: “The reason why it has worked so well is that it represents what buyers and audiences are looking for: film-level production values with universal stories that resonate on a human level, transcending borders and cultures.”

Sonar’s other MIPTV headliner, Les Norton, is a new Australian crime drama series adapted from the novels of Robert G Barrett, starring Rebel Wilson and David Wenham. “It follows the exploits of a country bloke from the outback with a troubled past,” Ellender says. “It’s set in Sydney, features largerthan-life, charismatic characters and draws upon the nostalgia of the 1980s.”

Ellender says Sonar continues to prioritise premium scripted drama: “The biggest challenge for scripted TV producers and distributors is to avoid the middle ground of mak-

Canal+’s Spiral

rise of Germany as a force on the global stage, both as a creative and commercial partner.

Another company that is part of this German wave is producer Constantin Film, which has a strong line-up of shows at MIPTV. “Global Screen will be presenting one of them — a historical mini-series entitled The Master Butchers’ Singing Club,” says Constantin producer and managing board member Oliver Berben.

Like Bavaria Fiction, Constantin is drawing on a rich German heritage of storytelling, with titles such as Bauhaus: A New Era, directed by Lars Kraume, and We Children From Bahnhof Zoo, created for Amazon.

“We are experiencing a golden age for original ideas, for stories and settings previously unheard of, for present-day characters and conflicts,” Berben says. “We are generally noticing a strong interest in young talent, in fresh faces, which creates an opportunity for discovering and casting a whole new generation of actors.”

On the question of scripted structure trends, Berben says: “Everything is happening at the same time. It’s possible to reach out to a great number of people with big mainstream

ing ‘good’ shows. The middle ground is getting deeper, but ‘good’ shows are not distinctive enough to break through.”

For the most part, Sonar focuses on IP that already has consumer awareness via brands, franchises or talent. “Projects with built-in marketing hooks to lure subscribers, consumers and advertisers are more likely to appeal to platforms and networks,” Ellender adds.

David Ellender: “The biggest challenge is to avoid the middle ground of making ‘good’ shows. The middle ground is getting deeper, but ‘good’ shows are not distinctive enough to break through”

Ellender’s watchword on funding is flexibility: “We work with streaming platforms and traditional networks across the entire spectrum and therefore have to remain flexible in how we work with partners, co-developing, co-financing and co-producing projects in the US and internationally. Every one of our projects has a different financial structure and profile, which is testament to our flexible approach to deal-making.”

Evident from the above is the Drama Special Report •

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programmes — even worldwide. It’s also an increasingly fragmented market, with more specific target groups than ever before and a lot of variety in format, style and narrative.

Movies, mini-series, procedurals, anthologies, docudrama... they coexist; they don’t exclude each other. And on top of this, the need for short-form content is getting bigger.”

The market’s enthusiasm for multi-language drama is shared

by Vanessa Shapiro, president of worldwide distribution and co-production at Gaumont TV, which is now in production on season five of Narcos (50 x 60 mins). “We are licensing the linear rights to all five seasons at MIPTV,” Shapiro says. “Buyers are looking for stories that travel and Narcos, which is 50% English and 50% Spanish, established a trend: it proved that strong stories, engaging characters and high production values are in demand everywhere, regardless of language.”

The first three seasons of Narcos chronicle the rise of the cocaine trade in Colombia and feature the infamous Pablo Escobar. “In the latest season, the focus switches to Mexico’s cannabis trade and the rise of

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TRENDS the Guadalajara Cartel,” Shapiro says. “Although in a new location, the storytelling, production values and talented cast continue to captivate.”

Gaumont will also be talking to partners about its new series, El Presidente, which was recently greenlit by Amazon Prime. “It’s a stylised drama series inspired by the real-life characters and events behind the 2015 ‘FIFA Gate’ corruption scandal,” Shapiro says.

El Presidente explores the scandal through the story of a small time Chilean football-club president, who rose from obscurity to become a key player in a $150m bribery conspiracy.

Shapiro says the drama is the result of a commitment Gaumont made in 2018 to develop and produce quality local-language content in Latin America. She adds: “Latin America is experiencing rapid growth and, given the region’s extensive amount of talent and rich stories, we are quite optimistic about the potential to ramp up our slate there.”

In terms of the challenges facing companies like Gaumont, Shapiro says: “The biggest challenge facing all producers is to find stories that are relevant and haven’t been done before. Last year, we established offices in

Narcos: Mexico (Gaumont Television)

The Master Butchers Singing Club (Global Screen)

the UK, Latin America, Germany and Australia, to ensure we have boots on the ground to secure rights to new stories, talent and funds.” At the same time, she notes that the proliferation of productions means “access to talent behind and in front of the camera is difficult to secure, as the best talent is in hot demand and not always available when you need them”.

Vanessa Shapiro: “The biggest challenge facing all producers is to find stories that are relevant and haven’t been done before”

Perhaps surprisingly, there is also a Latin-American flavour to the MIPTV slate of UK-based distributor DCD Rights. If there is a message here, perhaps it is that distributors are going further afield in search of distinctive shows.

DCD Rights CEO Nicky Davies Williams says her MIPTV headliners include Inspector Rojas: In Cold Blood. “This Villano Production for Mega is set in the north of Chile in the 1990s. It centres on the disappearance of 12 girls, which triggers an investigation by police captain Cesar Rojas.” Inspired by a true crime, the killer wanders in search of lonely adolescents, surrounded by the sands of the driest desert in the world.

DCD also has an Australian show that would seem to fit the recent trend towards tough

Drama Special Report • 10 • April 2019

young-adult (YA) storytelling, as evidenced by the success of Skam and 13 Reasons Why. The Hunting, produced by Closer Productions for SBS, imagines the lives of four teenagers, their teachers and families throughout the course of a nude teen photo scandal.

A central challenge, in Davies Williams’ opinion, is cutting through the clutter of competition — though she suggests this can play to the strengths of distributors: “Our role can be pivotal in sourcing strong stories and focused series that can be matched with an international partner or pre-sale alongside the distributor investment, to trigger production.” She also suggests that there is pressure for broadcasters to present ‘network originals’ to viewers.

“Because this expectation has come as budgets tighten, the result is a healthy co-pro market,” she adds.

The emergence of Latin America and continental Europe as sources of exceptional drama is

TRENDS just part of the story — Israel, Russia, Turkey, the Middle East and the Asia-Pacific region are also contributing to the transformation of the scripted-TV landscape.

Satoshi Kubota, Fuji TV’s vice-president of worldwide production and sales, says his company has been especially active in scripted formats. He notes that Fuji produced Suits for NBCUniversal last year, and that CBS’ The Good Wife has been adapted by Japan’s TBS. “Never before have US titles been remade this frequently,” Kubota says. “This is where I see a change — a growing acceptance of Western titles.”

Satoshi Kubota: “Never before have US titles been remade this frequently in Japan. This is where I see a change — a growing acceptance of Western titles”

At the same time, Kubota has seen a growing number of international markets exploring what Asia has to offer: “Ever since I came on board in charge of scripted materials in 2012, I have concentrated on selling Fuji’s scripted formats to the Asian market, and have probably negotiated more deals than any other broadcaster in town.

Now, we are doing everything possible to penetrate into the US and European markets.”

This does not mean that Fuji is moving away from selling to other Asian countries: “But if there is a change, it’s that they need an extra step in development — so it’s not just the plain selling of scripted formats that it used to be. In that sense, it means we are open to co-pro, both in the Western countries and Asia.”

This is a significant shift for Japanese players. “Japanese content used to be able to recover its funds domestically,”

Vienna Blood (Red Arrow Studios)

Kubota says. “However, this formula is becoming a challenge with the shrinking market. So I do feel the necessity to co-produce content more with neighbouring Asian countries and get financed outside Japan.

We have worked with many Asian broadcasters in the past, but we want to broaden our borders, especially in terms of

financing. Since there are quite a few regional OTT distributors — though not giants like Netflix — we are aggressively scoping for opportunities to collaborate.”

However, the lish language come at the glo-American

Departure, produced by Shaftesbury for Global

Drama Special Report • 11 • April 2019

rise of non-Engcontent has not expense of Anproduction —

although what is noticeable is a growing number of English-language series that are set against lavish, exotic or historic backdrops.

Carlo Dusi, executive vice-president of commercial strategy, scripted, at Red Arrow Studios International, points to MIPTV launch Vienna Blood, a primetime crime drama written by Steve Thompson (Deep State; Sherlock). Set in sumptuous 1900s Vienna, it is produced

by Endor Productions and MR Film, in co-production with Red Arrow Studios International, ZDF and ORF. Dusi says Red Arrow Studios’ projects “reflect the importance of marquee talent, alongside the need to showcase strong creative concepts with the power to stand out”. He adds: “Our aim is to showcase content from English-speaking countries such as South Africa, Australia and Canada, alongside the offering from our UK and US companies, as well as high-end local-language content.”

TRENDS The Canada connection is illustrated by Departure, a high-octane conspiracy thriller about the shock disappearance of Flight 716 over the Atlantic Ocean. The series is produced by Shaftesbury for Global (Canada). “In addition, we have Bad Mothers, an Australia comedy drama produced

by Jungle Entertainment for Nine Network Australia, and a South African production called The Girl From St Agnes, which is doing incredibly well in its own territory for Showmax,” Dusi says.

Dusi agrees that scripted formats are proving popular across multiple territories: “A great example is our German format The Last Cop. It has been formatted in Japan, France, Russia, Estonia and the Czech Republic and, most recently, a Spanish-language version, Falco, was made for Amazon Prime in Latin America. The format is now in play for a US version.”

Endemol Shine International is another outfit that typically turns out at markets with a strong slate of English-language scripted series. This MIPTV, CEO Cathy Payne singles out Deep Water, a new 6 x 1 hour primetime drama from Kudos for ITV in the UK. “The series is adapted from the Windermere book series by Paula Daly, with the screenplay written by Anna Symon,” she says. “It’s an engaging, relatable, emotional thriller following the lives of three complex women. The fact that it’s a strong female piece is very fitting for the time.”

Like her peers, Cathy Payne says finding projects that break through is a challenge right now.

She also agrees that financing is complex — for several reasons: “In recent times, we’ve talked a lot about high-budget scripted series getting funded by a domestic linear broadcast-

The Murders (APC)

er, a global streaming player and tax incentives. But the problem with this model for a distributor is that there may not be a lot left over.” Adding to the complexity, Payne says, is that “linear broadcasters and OTT players are increasingly competitors, making sharing harder”.

Endemol Shine International has enjoyed success with oneoffs and anthologies, but Payne remains wary of them as commercial propositions: “One-offs are harder to place when your buyers are focusing on building a returning audience and I don’t see that changing soon. They have to be special to attract support that could otherwise focus on capturing an audience for a longer period.”

Cathy Payne: “One-offs are harder to place when your buyers are focusing on building a returning audience. They have to be special to attract support”

Notwithstanding the growing opportunity to sell shows to global platforms via one all-encompassing mega-deal, Payne still favours a more classic approach to distribution: “My motto is always to follow the tried-and-proven route for funding, where product roll-out and risk profile is understood.

Not every show will deliver the expected ROI, so scripted investment is always best viewed as a longer term or slate concept rather than on an individual project basis.”

Pitched at a daytime slot, The Mallorca Files is a new crime drama from BBC Studios, set on the popular Spanish island resort. The 10-part series centres around the clash of personalities between a British and German detective who both inadvertently find themselves on the island, and who have very different approaches to policing — eventually forming a complementary partnership as they

Drama Special Report • 12 • April 2019

solve a new crime each week.

The Mallorca Files is the first production greenlit for Cosmopolitan Pictures, the independent production company founded by Ben Donald in 2014. Shot entirely on the island, cast and crew spent a total of seven months there for the first series — something few of them complained about. “Mallorca is the gift that doesn’t stop giving,” Donald says. “Not only does it look beautiful but it’s not the type of show where the characters spend a lot of time in incident rooms, cross-examining suspects. They spend a lot of time out and about so to have a backdrop like that is perfect.”

Donald says they show is shot probably 90% on-location, the remainder in a makeshift studio on the island, which he hopes will become a more permanent facility that will serve to grow the industry in Mallorca.

Elen Rhys (Keeping Faith, Ordinary Lives, Broadchurch) plays

TRENDS introverted Brit Miranda Blake, who takes her career — as well as everything else in life — seriously; Julian Looman (Pagan Peak, Prey, Cop Stories) plays Miranda’s German partner-incrime-solving, Max Winter – an extrovert who breaks all German stereotypes, which was the intention of executive producer Dan Sefton who heads the writing team. “Max is very childish, very naive but in a positive way,” Austrian Looman says. “It gets him to places in criminal interviews that other police officers might not. He’s the opposite of what Miranda Blake is.”

“I try hard to be the grownup,” Rhys says of her character.

“She finds herself stuck on the island with Max, much to her disappointment and frustration, having a very different approach to policing. But eventually, even though they’re opposites they eventually strengthen each other in different ways.”

The Mallorca Files is a Cosmopolitan Pictures/Clerkenwell Films co-production for the BBC. BBC Studios and Cosmopolitan Pictures have jointly put a co-production deal in place with BritBox for the US and Canada, and with ZDFneo for Germany. Other partners include France 2. BBC Studios is the international distributor.

While the challenges of developing and distributing scripted series are self-evident, there is no question that the new landscape has presented an opportunity for emerging players like About Premium Content (APC). Laurent Boissel, jointCEO and co-founder of APC, is launching The Murders at MIPTV, an eight-part English-language crime procedural starring Jessica Lucas, who is attending a screening of the pilot episode in Cannes. The series is produced by Muse Entertainment for Citytv in Canada.

Boissel reports that NBCUniversal International Networks has already pre-acquired the drama for its channels in certain territories.

Explaining APC’s interest in The Murders, Boissel says: “We noticed that the market has been lacking a strong crime procedural that features engaging cases and mysteries. There have been so many fully serialised cable-style shows that it seemed to us there was a gap in the mainstream segment.”

The growing popularity of non-English-language drama is demonstrated by two of APC’s returning series: Spanish crime drama Gigantes, which was commissioned by Movistar+ in Spain; and Swedish thriller Alex, which premiered on Viaplay in November 2017. “Both have been massive hits in their local markets and performed extremely well in terms of international sales,” Boissel adds.

As for the overall prospects for scripted content, Boissel remains bullish: “We are not see-

ing any move away from scripted — we’re actually noticing the opposite. For many broadcasters, drama remains at the core of their content and marketing strategies to retain loyal and wide fanbases.”

Boissel’s view is that the biggest challenge for scripted distributors is to “remain solely as distributors and keep growing their business”. He adds: “That’s why APC has turned into a ‘mini studio’ involved in the development, financing and production of TV series. We come in earlier and earlier, generating our own projects — more than a third of our development slate is originated by APC — in addition to spending more time and money on development than ever.”

Another company that has forced its way to the forefront of the global drama conversation is Dynamic Television.

Managing partner Dan March says: “We are premiering Deliver Us, a new thriller from DR and creators Christian Torpe

Gigantes (APC)

Drama Special Report • 13 • April 2019

and Marie Osterbye. The series reimagines Nordic noir in a stylistically new way — a blue-sky and small-town approach to very human experiences that all audiences can connect with.”

Also on Dynamic’s MIPTV slate is season two of Trapped. “And we’ll soon be kicking off principal photography on The Sommerdahl Murders,” March says.

“On new projects, Dynamic is in development with broadcasters in Sweden, Denmark, France, Germany, Italy and the US.” Like his peers, March acknowledges there are “significant” financial and creative challenges.

“But there are opportunities — and none bigger than the rising demand for European drama,” he adds. “A lot of money has been pulled out of studio output deals in France, Germany and the Nordics, and is being reinvested in local drama. The quality of the writing and the productions across Europe is rising just as rapidly, so it’s a fantastic time to be producing and distributing European dra-

TRENDS ma series.”

In terms of problematic production formats, March says: “Mini-series remain a challenge, because there is so much heavy lifting to get a series off the ground.” But, echoing Sonar Entertainment’s Ellender, he says there really is no alternative to pursuing high-end projects: “We operate in a quality-over-quantity industry, where great shows rise to the top, find an audience and most likely succeed financially. Everything below that bar has become a much higher risk than five years ago. Thus, we must continue to dedicate resources and focus into repeatedly delivering great content.”

Dan March: “We operate in a qualityover-quantity industry, where great shows rise to the top, find an audience and most likely succeed financially”

Alongside entrepreneurs like APC and Dynamic, the scripted business has seen the emergence of disruptors such as Endeavor Content, whose parent group has been tearing down the walls between talent agencies, producers and distributors.

Recent successes for Endeavor on the distribution front have included Killing Eve and The Night Manager. Determined to keep up the momentum, Gary Marenzi, Endeavor’s head of entertainment sales and partnerships, says: “Endeavor Content has teamed up with 101 Studios to launch Yellowstone into the international market. Season one was the second highest-rated US basic cable show of 2018 and season two is even bigger and bolder. We will have 20 hours of premium TV toplined by Kevin Costner. We are also excited by two series from See-Saw Films: State Of The Union with Rosamund Pike and

Britannia (Vertigo)

Chris O’ Dowd, and The End with Frances O’ Conner. Both portray characters dealing with modern problems and reflect trends in terms of what buyers want. They are well-told stories, with high production values.”

Marenzi says 45-60 minute episodes are still the prevailing format. “But there’s more flexibility with shorter form formats,” he adds, noting that State Of The Union is non-traditional in that it has been produced as 10 x 10 mins, but can also be viewed as 2 x 50 mins, or a feature. The End is 10 x 30 mins.

Marenzi says retaining global rights to high-profile shows continues to be a challenge for most distributors, as more commissioning networks expand globally. “We are fortunate to bring strong creative projects to commissioners, which often al-

lows Endeavor Content and its partners to retain multi-territory rights,” he adds. “However, the priority has to be a great creative concept, rather than a business model that a show has to fit into.”

While talent agents have been busy busting down the door to the TV-drama business, so have film producers, tempted into the genre by the new creative possibilities. See-Saw Films, producer of The King’s Speech, is one. Another is Vertigo, which is at MIPTV with season two of Sky drama Britannia. “We have a very active development slate and will be going to market with several key titles in the next few months,” says Vertigo co-founder Allan Niblo. “And we have just commenced principal photography on Bulletproof, season two.”

The Little Drummer Girl (The Ink Factory)

Drama Special Report • 14 • April 2019

Amid the ferocious competition, Niblo believes that Vertigo’s film heritage stands it in good stead: “Our shows draw upon our movie-industry experience. They are distinctly cinematic, edgy and diverse in content. They have a really good understanding of their intended audience.”

Although Britannia and Bulletproof are both typical of the current wave of premium TV dramas in terms of format, Niblo says Vertigo is “very interested in short-form content and is developing shows to appeal to digital natives”. He adds: “The rise of mobile video consumption is hugely exciting and there’s great scope for expanding worlds beyond TV and VOD platforms.”

Lest everyone get too carried away, however, Simon Cornwell, co-founder and co-CEO of The Ink Factory (The Little Drummer Girl; The Night Manager), strikes a note of warning for broadcasters: “One of the biggest challenges we face is the lack of growth in budgets from traditional broadcasters. The increase in production budgets, especially in the prestige space, means we are increasingly in a position where the numbers do not work. Production companies and distributors are not far away from no longer being able to afford to make premium shows. The hard truth is that, if the broadcasters are unable to stay competitive and keep pace with the market, they’ll no longer have access to the flagship shows audiences have come to expect, and that territory will be lost to the streamers.”

Simon Cornwell: “The hard truth is that, if the broadcasters are unable to stay competitive, they’ll no longer have access to flagship shows and that territory will be lost to the streamers”

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BUYERS & COMMISSIONERS

We’re buying

YLE’s Instagram drama Karma

The international drama-commissioning and acquisitions business might be in a state of flux in 2019, but it is still a very busy market. Juliana Koranteng talks to commissioners, buyers and distributors about their strategies for securing the scripted entertainment they hope will get audiences hooked THE ONCE-separate roles of commissioning editors and programme buyers continue to meld in an industry where linear-TV broadcasters are vying with aggressive on-demand services for quality fiction.

And to add to the industry noise, a new generation of direct-to-consumer SVOD platforms is being planned by The Walt Disney Company (Disney+), WarnerMedia’s telecoms

owner AT&T, and the colossal Apple Inc. And that is in the US alone.

A number of international media groups, for example Sweden’s Bonnier Broadcasting or Finnish broadcaster YLE, already own linear freeto-air channels, local subscription-funded on-demand streaming platforms as well as ad-funded streamers, catchup TV websites, mobile apps

and more.

Bonnier is in the process of being acquired by Swedish telecoms conglomerate Telia Company, bringing in yet another potential major player in Europe’s new line-up of streaming entertainment.

And as the hunger for top-tier drama grows to feed these services, so will the prices, prompting buyers and commissioners within media companies to col-

Drama Special Report • 16 • April 2019

laborate to determine how best to ensure their investment benefits as many of their platforms as possible.

Equally, distributors are keen to understand further what their clients need to ensure they acquire the licences for the drama content that is in demand.

Ahead of MIPTV we asked a number of professionals from around the world: what do buyers want?

BUYERS & COMMISSIONERS

CATHRINE WIERNIK Director of programmes Bonnier Broadcasting (Sweden)

AS THE leading executive in charge of filling the schedules on Bonnier’s TV properties, Cathrine Wiernik needs robust dramas that appeal to not only the audiences of flagship freeto-air network TV4, but also those for the advertising-funded VOD service TV4 Play, and the paying subscribers of streaming platform C More.

But the days of having different commissioning executives for each service are gone.

As head of programmes re-

JARMO LAMPELA Head of drama Creative contents YLE - Finnish Broadcasting Company (Finland)

sponsible for all genres, she works closely with Bonnier’s drama department whose staffers pool resources for commissioning, buying and negotiating for quality — and usually expensive — shows that appeal to the core audiences of the different platforms.

But they also ensure the programmes gain extended life by packaging them in a way that appeals to the audiences on each of the sister platforms.

“We like shows that can be used throughout our ecosystem, and try to optimise the return-on-investment by making them available in the way people want it,” Wiernik says.

For example, The Little Drummer Girl, the high-profile John Le Carre explosive espionage mini-series originally made for BBC Studios and AMC Networks, was bought for C More.

But it was also made available on TV4 Play as a secondary release for viewers who prefer anytime, anywhere, linear TV. Sky Atlantic’s suspenseful crime drama, Riviera, was on C More for about four months and

then aired during primetime on TV4. With its glossy setting on the French Riviera and Swedish star Lena Olin as one of the lead actors, Riviera resonated significantly with Swedish viewers, so Bonnier was able to extract more attention by returning it to C More later on.

In addition to crime and family dramas, Wiernik says the company is interested in light-hearted fare, for example Younger, the comedy-drama series originally made for TV Land and Paramount Network in the US. Additionally, Wiernik emphasises that producers and distributors need to understand how the role of content commissioners and buyers is evolving at Bonnier.

“What we do is acquire the rights, for the full flexible range of linear, AVOD and SVOD to use them how and where we see fit,” she says.

“Take TV4 Play, for example. Five years ago, its viewers would have been early adopters and young people watching only digital. Today, it is catching up with linear by attracting

a lot of family audiences and becoming a go-to destination.

So we’ve started acquiring exclusive shows for the AVOD platform.”

With the price of dramas skyrocketing and competition intensifying with the might SVOD services — Netflix and HBO Nordic, for example — co-production continues to be a necessary strategy.

“Today, that role of commissioning and acquisitions involves hold-backs and windowing. It is a tougher, more complex job but it is more fun,” Wiernik says. “We are all making decisions as early as during the script stage because the competition is insane these days. Every rights owner is retaining the IP or going direct to the consumer. It is a jungle and the landscape has really intensified. Our weapon is to secure the best Swedish scripted we can get.

“For us, commissioning is local, local, local. Then you add an acquired high-end premium series from a major studio.”

YLE’S Jarmo Lampela can clearly illustrate precisely what dramas the Finnish linear-TV broadcaster is looking for this year. YLE currently has a number of international co-productions, for example suspense-drama Invisible Heroes; The White Wall, made with Swedish broadcaster SVT; The Peacemaker by REinvent Studios; and crime series The Paradise with Spain’s Mediapro.

In addition, it has commissioned domestic dramas and drama-comedy series including the dramedy series about relationships, Happy Hour Of The Wolf by Warner Bros. Finland.

As Lampela explains, obtaining the best local and international fiction for your audience means thinking creatively in multi-territory terms.

“YLE Drama is focusing on developing original drama shows for Finnish and international audiences. Today, there are more opportunities for the talent in most countries to develop original ideas and most of the productions need international partners to be financed and produced,” he says. “So in the coming years, every drama commissioner needs to collaborate with overseas partners, as well as fight for exclusive and unique

shows.”

The broadcaster aims to acquire potential major hits, not only for the linear-TV service but also for next-generation video platforms. “We’ve had a good reception for Yellow Film & TV’s mini series M/S Romantic and primetime show Moominvalley, an animated TV series for a family audience,” he adds.

“Meanwhile, YLE Drama and YLE Youth will continue posting drama content on social-media platforms. This spring, we’re releasing Karma, an Instagram drama that has already gathered an interested audience and attention in the media.”

Drama Special Report • 17 • April 2019

BUYERS & COMMISSIONERS

DANIELE CESARANO

WHEN acclaimed scriptwriter Daniele Cesarano was appointed as head of drama in 2017 by Italian media giant Mediaset, he announced ambitions to focus on only local original productions to grow the fiction quota on entertainment broadcaster Canale 5.

Yet, his first commission was Non Mentire, a remake of British hit drama Liar, the Golden Globe-nominated crime thriller

by UK-based Two Brothers Pic-

tures that premiered on Canale 5 in February.

“I used Liar to demonstrate the type of show that works on free-to-air broadcast TV, as opposed to cable. For me, it was a good opening in terms of the characters depicted and production values,” Cesarano says.

“Now we can focus on local original stories, especially crime drama.”

Among the titles for 2019 are L’Isola Di Pietro 3, by Romebased Lux Vide; Rosy Abate 2

by Mediaset subsidiary Taodue Film; Il Processo, from film/ TV production house Lucky Red; and medical drama Oltre

be involved in commissioning shows for international coproduction only recently.”

Acquisitions last year included Locked Up, a Spanish women’s-prison thriller, an Atresmedia original series produced

by Mediapro’s Globomedia; and Porus, one of India’s most ambitious historical drama TV series, from India’s One Life Studios.

“We hope to continue to dis-

cover outstanding shows from territories with a proven track record in their home countries,” Nagasawa says. He adds that the demand for drama has soared in recent years, not only because Netflix and other SVOD platforms have raised the competitive stakes with investments in scripted content, but also because “everybody’s interested in launching OTT services. That has accelerated demand too.”

CATHY PAYNE

through,” she says. “Tight engaging storylines don’t need to cost a fortune.”

Experience tells her that clients, from broadcasters to SVOD platforms at all levels, are going to be more demanding than ever with an increasingly aggressive international TV drama market.

“They are seeking extended exclusivity in titles for their services and the ability to offer their viewers and subscribers the opportunity to watch when they want

Head of drama Mediaset (Italy)

KAZUFUMI NAGASAWA Chief content officer HJ Holdings (Japan)

AT THE streaming platform Kazufumi Nagasawa buys both drama for the company and commissions originals. “In terms of the number of shows, we buy much more than we commission, purely because of the cost. We’ve come to

CEO Endemol Shine International (UK)

CATHY Payne at distribution giant Endemol Shine International, foresees clients demanding stories with biographical themes, procedural mysteries, contemporary and period dramas, as well as the ever-reliable gripping-crime genre.

“A good story will always break

Drama Special Report • 18 • April 2019

La Soglia.

“What we prefer is to offer two episodes a week. That is why we’re also going after procedurals, which a platform like Netflix is not focusing on.

Netflix’s audience is younger and more affluent and can afford the regular subscriptions,” he says.

“Previously our network had focused on what we call female-led Italian melodramas. Now we want more realism in the stories, compelling contemporary narratives that feature modern-day protagonists that viewers can identify with. We want to broaden the viewing audience.”

and how they want it,” she says.

“In terms of making scripted stand out, the packaging of strong screen talent with creatives has become very fashionable.

However, if you have a cracking story and deliver it well-executed, it will still stand out.”

In that context she cites Jed Mercurio’s Bodyguard, the taut political thriller commissioned

by UK public broadcaster the BBC, a ratings blockbuster and a Golden Globe winner.

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BUYERS & COMMISSIONERS

VIVEK LATH

Founder/managing director GoQuest Media Ventures (India)

MARK DEE-SHAPLAND Head of content sales AMC Networks

THE ACCELERATING demand for premium drama is being felt in economies in Asia and Africa, according to Vivek Lath at Mumbai-based distributor GoQuest Media Ventures.

This development has been propelled by the growth of filmand TV-hungry local SVODs — in Asia especially. In China the leading streaming platforms include iQiyi, Youku Tudou and Tencent Video. There are also the multi-territory Asian on-demand services, including iFlix, HOOQ and Viu. You can catch OONA in Indonesia; and HotStar, Eros Now and Viacom 18’s Voot in India. Competing in South Korea are Watcha Play, the CJ ENM-

owned Tving and Pooq, while Tonton is a major player in Malaysia.

“Asia is one of the fastest emerging markets for entertainment with a large young population. So buyers have to focus on these young people’s demands for premium content. YouTube doesn’t always cut it with this audience because Netflix is also coming up with quality shows for them,” Lath says.

He adds that the Asian platforms are buying content from China, where the value placed on quality has soared. “Chinese productions are achieving prices that are almost similar to Hollywood’s and that is trickling down to significant parts of

Southeast Asia and Africa.”

India isn’t feeling the competitive heat from international content yet, as there is much demand for local content, Lath says. “But with Malaysia and Indonesia having their own streaming platforms, they are also seeking premium and are prepared to spend on co-productions.”

For non-Asian content, broadcasters paying high prices are being very fussy about what they acquire. “Now quality is at the forefront because it is a fight for survival, especially when competing with Netflix.

The challenge for us as distributors is to match the rising prices of international content.”

AT PRESENT, breaking through requires a series to be either unique or universal and certainly of a high standard of quality in its storytelling, according to AMC’s Mark Dee-Shapland. “Shorter-run, limited series are becoming more appreciated, since they work on both linear and non-linear alike,” he says. “Buyers are also looking for series that bring to light a story that may not be widely known but will connect with a broad audience, like our new limited drama series Unspeakable. It’s based on the tragic true events of the international tainted-blood scandal in the 1980s. At its heart, it is a universal family story.”

Dee-Shapland says local drama

production is booming across the world, and smaller-budget series have never had a better chance of travelling. But “international series need to tell a new story that will intrigue and subvert expectations, or contain universal, timeless, relatable truths that translate across borders. Contemporary stories have always been popular, and right now the key issues are politics, freedom of speech and technology.” He adds: “We had a strong response last year when we introduced This Close, our groundbreaking relationship dramedy, created, written by and starring two deaf actors.

The series presents a rare view into what it is like to go through life as a 20-something deaf per-

son and explores the universally relatable themes of love and friendship, told from the perspective of two best friends who are deaf.”

So what are the buyers and commissioners who get the best shows doing that others don’t do? “It’s cliched but a universal truth; they are listening out for the hook in the pitch they haven’t heard before. The themes or the subject might be wellknown, but the way the series will explore them should be inventive in order to capture the attention and thus the imagination of their audience.”

He adds: “Currently, crime and politics are very much the zeitgeist, along with ideas of a dystopian future.

Drama Special Report • 19 • April 2019

‘A genuine laboratory of

creativity’ In February, MIPTV and CANNESERIES unveiled 16 diverse and eclectic projects that, between them, represent the Official Selection of In Development, the Cannes Drama Creative Forum dedicated to fast-tracking drama-series production

NOW IN its second year, In Development was devised by MIPTV and CANNESERIES as a vehicle to discover, connect and greenlight early-stage drama projects at an international level. Over three-and-a-half days, producers and creators involved with the 16 projects will get a priceless opportunity to pitch to decision-makers, including commissioning editors, platforms, distributors, co-producers, funds and talent agencies.

“There is a strong appetite throughout the industry to discover and invest in drama series at a very early stage,” says Reed MIDEM director of television Laurine Garaude. “Distributors are increasingly acting as rights management companies by helping producers find their way in the international market, and as a result, they are eager to connect with rising talent.”

The 16 projects were selected by an international jury of drama experts out of a record 376 submissions from 41 countries; last year there were 344 entries.

Reflecting the quality of output currently emerging from across the international market, this year sees titles on show from Belgium, Finland, France/Morocco, France/Germany, Germany, Greece/Serbia, Israel, Norway, Mexico, Poland, Portugal, South Africa, Spain, the UK, the UK/Mexico and the US. Compared with last year, there appear to be more cross-border collaborations, reflecting the drama market’s growing interest in co-productions.

The Official Selection is divided into the following two groups: Producers’ Pitches and Writers’ Pitches. The former provides a platform for producers seeking development and financial partners, highlighting fresh local voices and established international producers. In parallel, the latter features projects from emerging and seasoned writers with international ambitions.

Garaude says: “This year’s selection is particularly diverse in genres and countries. In Development provides these projects

with the opportunity to move into production before reaching audiences. It is fast becoming a central part of the MIPTV experience to discover, develop and distribute great content.”

Benoit Louvet, managing director of CANNESERIES, adds: “The success and relevance of a forum like In Development speaks for itself. The proof is in the fact that we received record submissions. After the achievement of the first edition, the international aura of In Development is now undeniable.”

As well as winning the opportunity to pitch a project to such an influential audience, the selected projects may also be eligible for development funding from In Development’s Official Partners. French investment fund La Fabrique des Formats is offering financing for up to two series from the selection backed by a French producer or co-producer. In addition, independent European studio Federation Entertainment (The Bureau) will co-develop,

Drama Special Report • 20 • April 2019

co-produce and distribute one of the selected projects: “The TV series is a genuine laboratory of creativity, and events like In Development, which put creatives at the heart of the business, are essential to engender the hits of tomorrow,” says Pascal Breton, founder and CEO of Federation Entertainment. “The first edition was a success, both in terms of the quality of the content presented and the opportunities, which flowed from it. We are proud to have developed some of those projects.”

The official selection was made by the following international jury members: Ash Atalla, managing director, Roughcut Television, (UK); Rola Bauer, managing director, Studiocanal TV, (Germany); Tara Cook, development producer, Carnival Films, (UK); Jane Gogan, executive producer, (Ireland); Serge Hayat, financier, Cinemage & Capucines Investment Funds, (France); David Ellender, president, global distribution and

co-productions, Sonar Entertainment, (USA); Tiago Mello, executive producer, Boutique Filmes, Brazil; Stephen Mowbray, head of SVT International, Sveriges Television (SVT), (Sweden); Erik Pack, head of international distribution and co-production, Platform One Media, (USA); Vanessa Shapiro, president, worldwide distribution & co-production, Gaumont Television, (USA); and Christian Wikander, director, co-production, Twelve Town, (UK). In addition to the many hours they have put into judging, jury members are also participating in the event’s various matchmaking round tables.

Speaking to the MIPTV Daily News, Sonar’s David Ellender notes the diversity of content on show, “with subjects ranging from a WWII crime drama to contemporary supernatural mystery, and from countries as diverse as Morocco, Finland and Mexico. The world is now much more open to creative talent, pretty much from anywhere in the world. Great creative ideas are not exclusive to any one country or culture, and the TV screen (or any screen) provides viewers with a window on the world.”

While the remit of In Development is to discover new and fresh voices for all screens, Ellender says: “I hope it will also prove to be a place for building partnerships with creators, producers and distributors. I’d like to see us sharing concepts, ideas and discussing ways in which these need to be executed to navigate the increasingly complex local, regional and global myriad of distribution outlets that are available to creators.”

Studiocanal’s Rola Bauer says she is “looking forward to meeting the finalists behind this years’ high-quality international projects, discovering new talents

IN DEVELOPMENT OFFICIAL SELECTION: DRAMA PRODUCERS’ PITCH (12 PROJECTS) 1

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1 - 10 BULLETS Produced by plays2place (Greece, Serbia) 2 - A GOOD YEAR Produced by Mockingbird Productions (Belgium) 3 - BLACK-OUT Produced by Les Films du Nouveau Monde and Ali N’ Productions (France, Morocco) 4 - CRASHERS Produced by Watchmen Productions (Germany) 5 - FOR THE SAKE OF THE CHILD Produced by United Studios of Israel (Israel) 6 - ICE VALLEY Produced by Cinenord (Norway) 7 - PERFECT MONSTERS Produced by Pimienta Films, Telegrama Audiovisual and Tita Productions (Mexico) 8 - RADICAL EYE Produced by Pinball London (UK, Mexico) 9 - SECOND LIFE Produced by Omnicorp Estudio (Spain) 10 - THE MANDELA EFFECT Produced by Tshedza Pictures (South Africa) 11 - TRANSPORT Produced by Tekele Productions (Finland) 12 - TWENTY-FOUR LAND Produced by Ukbar Filmes (Portugal)

Drama Special Report • 21 • April 2019

IN DEVELOPMENT OFFICIAL SELECTION: DRAMA WRITERS’ PITCH (4 PROJECTS) 1

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1 - BLACK TIMES Written by Sabrina Amerell and Alexandre Manneville (France, Germany) 2 - HELLO DOLLY Written by Johnny Maginn (UK) 3 - KINKS Written by Rachel Feldman (USA) 4 - THE TRIBE Written by Agata Koschmieder (Poland)

and opportunities for new international co-productions. At the same time, the curated exchange in Cannes allows for in-depth advice during the pitch sessions and support with co-producing and financial strategies for partners in meetings on site.”

She adds: “The quality of this years’ submissions was incredibly high with a lot of very interesting projects from all regions of the world with a variety of different topics ranging from crime noir, science fiction, horror, comedy — and what was surprising, lots of period and historical dramas in the mix.”

Gaumont’s Vanessa Shapiro says collaborative events like In Development, where studios get to see new ideas at an early stage, are increasingly critical given the challenges involved in sourcing and financing drama.

“Budgets have increased dramatically for many reasons, including the rising cost of talent.

Only a few years ago they were competing for work but now are negotiating higher fees due to demand; and production costs are soaring due to the higher production values audiences want. The model we are seeing is that most distributors are pro-

viding deficit funding, but as a general rule, Gaumont wants to be involved in a project at the earliest stages to ensure we are a co-production partner and participant in the series.”

Vanessa Shapiro: “The model we are seeing is that most distributors are providing deficit funding”

All the projects are at early stages of development. But what is evident is that the trend towards limited series is still strongly in vogue — many are eight-parters, with episodes of 45/60 minutes.

Similarly, the selected shows seem to extend the strong shift towards female-fronted drama.

One hotly-anticipated project is Kinks, from Blue Bloods director Rachel Feldman. The show centres on a maverick sex therapist who will do anything to help her “dysfunctional, and downright dangerous” patients.

Gangster-themed shows from Eastern Europe also seem to have caught the expert jury’s attention. Agata Koschmieder’s Polish series The Tribe is a 1918 Warsaw series where four sisters confront the local mob; while Serbia/Greece project 10 Bul-

lets is about two homeless people who get caught up in gang warfare involving the Serbian and Albanian mafias.

Among several period pieces are crime series Perfect Monsters, which is set in North Mexico, and produced by Nicolas Celis (Roma); and Twenty-Four Land, an epic WWII production from Portugal. In the latter, a high-society woman becomes a spy to save her homeland from foreign invasion. Keeping up the emphasis on female protagonists is Radical Eye, a Monica Bellucci passion project about feminist pioneer Tina Modotti.

Contemporary series in the selection include A Good Year, from Belgium’s Mockingbird Pictures. A comedy thriller, this 8 x 45-minute series tells the story of a group of men who try to pass off a wine collection as having belonged to Adolf Hitler. And from Germany, Crashers is about a suicidal Berlin bartender who is given a new lease of life when he falls in with a motley crew of colourful expats living in the city.

One of two series with an African connection, Black-Out is the first high-end TV project from director Nabil Ayouch.

Drama Special Report • 22 • April 2019

An eight-hour series, BlackOut takes place on the border between Morocco and Spain’s North African enclave of Ceuta, sometime in the near future.

The action occurs over one night, when a power outage disables the electrified barriers between the two territories, sparking a migrant crisis.

No Official Selection would be complete without some Scandinavian shows. The 8 x 45 mins Nordic Noir drama Ice Valley is set in Norway’s Istelen Valley and follows two students as they investigate the disappearance of their housemate. Finland’s Transport, backed by pubcaster YLE, tells of people involved with illegal transport on the roads of Europe.

The line-up for the finalists is rounded out by: For The Sake Of The Child, from United Studios of Israel, whose recent credits include hit high-end Autonomies; Second Life, from Omnicorp Estudio in Spain; The Mandela Effect, from Tshedza Pictures of South Africa; and Hello Dolly, written by the UK’s Johnny Maginn.

FEATURE:

Drama Short Form Series Pitch 1

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THE THIRD Drama Short Form Series Pitch is again part of the In Development programme this year.

During this session, short-form drama series projects created for mobile consumption, will be presented by creators and producers from around the world.

The six pre-selected projects come from Canada, France, Germany, Israel, Italy and the US. The criteria for selection included creativity, originality, quality of storytelling, production values and worldwide appeal. In addition, they need to have the capacity to return for multiple series but must have not been commissioned or released yet, with the worldwide rights still available to interested parties.

Zach Feldberg, executive in charge of production, digital originals, at CBC Canada is one of the expert jury members reviewing the finalists in Cannes.

“Finding compatible broadcast and streaming partners to team up early in a series’ development life cycle is an ideal situation for all involved, but it is difficult to accomplish,” he says.

“Getting in a room together is half the battle. An event like In Development can help connect platforms that have shared creative and audience ambitions, alongside exciting projects that may align with those needs.”

Alongside Feldberg, expert judges include Flixxo CEO Adrian Garelik, Blackpills head of content Clara Levy, Alibaba Media and Entertainment Group director of media acquisition and cooperation Qiang Li and YLE commissioner, entertainment Arttu Nurmi. Feldberg’s colleague, CBC executive director, scripted content, Trish Williams was involved in pre-selection.

Drama Special Report • 23 • April 2019

IN DEVELOPMENT DRAMA SHORT FORM SERIES PITCH FINALISTS 1 - TWINKY DOO’S MAGIC WORLD Produced by i Licaoni Digital Studio (Italy) 2 - CAFE PRIMO Produced by Assaf Machnes (Israel) 3 - HOMOSCOPE Produced by Bridges-Eric Pellegrin (France) 4 - IN A FOREIGN TOWN Produced by Butcher Bird Studios (USA) 5 - INTERWORLD Produced by Macchiato Pictures (Germany) 6 - LIFE XP Produced by: Ebnerds Multi Media Entertainment (Canada)

057_RM MIPMARKETS_PV_TV

Driving the content economy

8-11 April 2019 Cannes, France

6-7 April 2019 - Cannes, France

5-7 June 2019 Hangzhou, China 19-22 November 2019 Cancun, Mexico

14-17 October 2019 Cannes, France

12-13 October 2019 Cannes, France

Interested in our events?

Contact us for more information VISITORS: mipvisitors@reedmidem.com EXHIBITORS: mipstands@reedmidem.com BUYERS: yi-ping.gerard@reedmidem.com

MIPTV®, MIPDoc®, MIPFormats®, MIP®China, MIPCOM®, MIPJunior® and MIP®Cancun are registered trademarks of Reed MIDEM - All rights reserved

MIPDRAMA BUYERS’ SUMMIT

A first-look at tomorrow’s stories Building on the success of last year’s event, the 2019 MIPDrama Buyers’ Summit will give influential buyers an exclusive first-look at 10 new scripted series from around the world. Andy Fry takes a sneak preview THE 2019 MIPDrama Buyers’ Summit stakes place on Sunday, April 7, on the eve of MIPTV. The invitation-only event provides a unique opportunity for 450 leading buyers and commissioning editors to discuss trends and network on projects. This year’s Summit showcases 10 series — up from last year’s six, several of which have gone on to enjoy significant success internationally.

Last year’s showcase neatly foreshadowed recent trends, with Spanish and Russian projects prominent, multi-language dramas, series with strong female protagonists, icy and snowy locations, not to mention a project that focused on the sinister traditions of a small rural community.

Looking at the current state of the market, Keri Lewis Brown, CEO and founder of K7 Media — and a presenter at the Summit — notes an “an increasing number of stories with a hyper-localised sense of place”.

She adds: “The Euro-pudding

is out and narratives are often set in very precise communities, such as a small industrial town in Ukraine or Waiheke Island in New Zealand.” Lewis Brown believes that writers can create “darker and more noir-ish stories” when there are secrets or undercurrents within a specific community. “Broadchurch is a very good example,” she adds.

Among this year’s candidates, there is a strong emphasis on 20th-century period drama with the Second World War a focal point. Ruth Berry, ITV Studio’s managing director of global entertainment, is at the Summit with World On Fire, an epic Second World War drama.

“We believe buyers will feel the same way we do about the importance of understanding our recent past and how it could affect our future,” she says. “It has geographical breadth and relevance around the world.”

Underlining one of 2019’s big trends, Berry says World On Fire’s story is told in multiple

languages by an international cast: “The first-season storylines play out across Poland, Germany, Paris and Manchester, so you can imagine the lengths the production team had to go to [to ensure that] each storyline feels authentic — not just to a British audience, but to the audiences in those countries and, indeed, the rest of the world.”

Laurent Boissel, joint CEO and founder of About Premium Content (APC), is presenting 1950s Cold War thriller Shadow Lines. Like Berry, he stresses the importance of contemporary resonance: “Shadow Lines is a period thriller, but it’s also very topical in the current East-versus-West climate. Its themes — election tampering, king-making and fake news are explored. The characters have universal and personal beliefs that I believe are relevant in today’s context.”

This year’s line-up is also enriched by the inclusion of a Ukrainian project, Hide And Seek, represented by ZDF En-

Drama Special Report • 25 • April 2019

terprises (ZDFE). The commercial arm of the German public broadcaster, which has built a reputation for unearthing great drama in less exposed markets, is optimistic that the Film.UA production will receive a good response: “Hide And Seek is part of our long-term strategy of proving that premium drama can originate in Eastern Europe,” Mirela Nastase, director ZDFE.drama, says. “While tackling universal themes, the series brings relatable, troubled characters that will make anyone forget about the language or cultural specificity.”

Olesya Lukyanenko, creative producer, and Kateryna Vyshnevska, head of development and co-productions, at Film.UA touch on the moral ambiguity that TV dramas are so good at unpacking. They point out that Hide And Seek’s antagonist is not a stereotypical villain and the detective-protagonists are also flawed. The 10 series on show have been selected by Reed MIDEM’s editorial team.

To be eligible, series must be in the early stages of production and never presented before to buyers. Projects must also be 100% financed and in their first season.

MIPDRAMA BUYERS’ SUMMIT

ATLANTIC CROSSING (Norway)

COSTA DEL SOL SQUAD (Spain)

Drama (8 x 52 mins)

Thriller/crime (13 x 70 mins)

Production: Cinenord Drama and Beta Film

Production: Warner Bros ITVP Spain and Mediaset Espana

Distribution: Beta Film

Distribution: Warner Bros ITVP Spain

Broadcaster: NRK Norway

Broadcaster: Telecinco Spain and Netflix

CURRENTLY in production, NRK’s Atlantic Crossing is the

true story of a love affair between a European princess and the American president during the Second World War. Directed by Alexander Eik and Janic Heen, the drama’s global distributor, Beta Film, describes it as “an inspiring story of love, transformation, emancipation and personal growth”.

Told across eight episodes, Atlantic Crossing centres on Norwegian princess Martha, who fights to save her country — and her marriage — against the backdrop of the Second World War. A popular icon at home, she had a major impact on President Roosevelt‘s decision to enter the war in 1941.

A big attraction for buyers will be the cast attached to the project. Martha is played by Sofia Helin (The Bridge), while Roosevelt is screen star Kyle MacLachlan (Twin Peaks).

Speaking of her role, Helin says: “This is an amazing but untold story about a woman who made a difference. So far, there has been no place for the female perspective in stories about the Second World War. Now, it’s about time these stories are being told.”

MEDIASET Spain has been investing heavily in high-end drama in recent times and is starting to see the benefits, both domestically and internationally. For this reason, there will be plenty of interest in the new 13-part crime thriller Costa Del Sol Squad (Brigada Costa del Sol).

Produced by Mediaset Spain and Warner Bros. ITVP Spain with Netflix, Costa del Sol Squad is based on true events — with a bit of drama and romance thrown in. The cast consists of Hugo Silva (Ministry Of Time), Miki Esparbe (Anchored), Jesus Castro (El Nino), Alvaro Cervantes (The Zone) and Sara Salamo (B&b).

The series is set in 1977, a year after the death of dictator Francisco Franco. It follows a group of police officers who are sent to Torremolinos on the southern coast of Spain to form the Costa del Sol vice and narcotics squad. Operating at a time when little was known about these crimes, the maverick group of detectives became pioneers in their field, despite limited resources. Notwithstanding their borderline methods and anti-authoritarian personalities, they were astonishingly successful — so much so that their achievements have gone down in history.

Mediaset says the series will include the main protagonist’s “subjective and cynical viewpoint”, which will act as foil to the difficult and dangerous situations in which the narcotics squad are often caught up.

Costa Del Sol Squad marks the first time Mediaset has collaborated with Netflix, and the latter will not be able to air the show until it has been on Mediaset’s Telecinco channel in Spain. Mediaset is also unveiling its new production and content distribution arm Mediterraneo Audiovisual at MIPTV, although Costa Del Sol Squad will be distributed by Warner Bros. ITVP Spain.

MacLachlan adds: “To play one of the great American presidents — one of the great leaders of the 20th century — is a dream come true. He refused to be defined by his physical challenges and truly changed the way the American government reacts and responds to its people. He was extraordinary at a time when that’s what was needed.”

The show’s producer, Silje Hopland Eik, says: “Upon hearing this unique story, we were immediately compelled to bring it to larger audience. This is an epic war-time love story, as well as an important, relevant and unifying story about how individuals can affect global politics.”

Drama Special Report • 26 • April 2019

MIPDRAMA BUYERS’ SUMMIT

DANGEROUS MOMS (Spain) Black comedy (13 x 70 mins) Production: Mediaset Espana and Producciones Mandarina Distribution: Mediterraneo Audiovisual Broadcaster: Mediaset Espana and Telecinco Spain

characters include Lourdes (Alterio), the wife of a policeman; Virginia (Herrero), a young pregnant woman and mother of a small child; and Amparo (Garcia), a long-suffering grandmother who takes care of her grandson during her daughter’s repeated absences.

WITH Dangerous Moms, Mediaset Espana becomes one of just two companies to have more than one project in consideration at this year’s MIPDrama Buyers’ Summit. Called Senoras Del (h)AMPA in Spanish, the series is described by distributor Mediterraneo as a black comedy.

Created by Abril Zamora and Carlos del Hoyo with the support of Producciones Mandarina, Dangerous Moms stars Toni Acosta, Malena Alterio, Nuria Herrero, Mamen Garcia and Marta Belenguer. It tells the story of Mayte, a single mother of two, who makes a living selling kitchen robots. Overwhelmed by her precarious economic situation, she takes advantage of a meeting of the AMPA (parent’s association) at her children’s school to demonstrate her product. It proves to be a fateful decision, when Mayte and three other women accidentally become involved in a murder. This, in turn, sends them into a spiral of criminal acts as they to try to preserve their secret.

Due to air on Telecinco in Spain, Dangerous Moms mixes dark humour with several other genres, including thriller, drama and even horror. Alongside Mayte (played by Acosta), the key

HIDE AND SEEK (Ukraine) Crime drama (8 x 60 mins) Production: Film.UA Distribution: ZDF Enterprises Broadcaster: ICTV Ukraine

HIDE And Seek is an eight-part crime drama filmed in more than 80 locations in Ukraine. Produced by Film.UA, the drama integrates elements of noir and thriller with intimate personal stories. Set against the dreary atmosphere of a small industrial town — a haven for the displaced and misfortunate — the story tackles the issue of missing children from a standpoint of morality rather than criminal justice.

The narrative starts with a father and daughter playing hide-and-seek. The daughter disappears and, later, a video is posted online, which shows her holding a sign bearing a mysterious set of numbers. It turns out she is the first of several children to disappear without a trace. Young detectives Varta Naumova and Maksim Shumov take on the complex case — and their own demons.

Explaining ZDF Enterprises’ (ZDFE) involvement in the project, Robert Franke, vice-president of ZDFE.drama, says: “We’ve been looking with admiration at Film.UA for quite some time. Hide And Seek is a highly cinematic series and is a highlight of our drama offering at MIPTV.” Kateryna Vyshnevska, head of development and co-productions at Film.UA, believes ZDFE’s involvement is an overdue endorsement of the quality of shows coming out of her region: “In this golden age of drama, many international distributors know how to sell a good show, yet not so many have ZDFE’s vision to see that a good show can come from anywhere in the world, including Eastern Europe, and can be produced in any language. Ever since Bron [The Bridge], working with ZDFE has been an ambition of ours. They are living up to our expectations and amaze us with their strategic thinking and passion for good content.”

Drama Special Report • 27 • April 2019

MIPDRAMA BUYERS’ SUMMIT MADE IN ITALY (Italy)

I AM (UK)

Drama/comedy (8 x 52 mins)

Drama (3 x 60 mins)

Production: Taodue Film and The Family

Production: Me+You Productions

Distribution: Federation Entertainment

Distribution: Sky Vision

Broadcaster: Canale 5 Italy

Broadcaster: Channel 4 UK

SET IN the 1970s, Made In Italy is a comedy drama that tells the story of Irene, a daughter of southern Italian immigrants, who responds to a job ad at a fashion magazine in order to finance her studies. Before long, she has taken over a pivotal position at the magazine and has become a key part of the emerging Italian fashion scene.

As Milan’s fashion industry evolves, Irene’s life undergoes radical changes. She meets many young designers taking their first steps along the road to global fame, as the spotlight of the fashion world shifts from French haute couture to Italian pret-a-porter. While the focus is the fashion world, the series also reflects the fact that the 1970s was the era of divorce, women’s lib, social and political upheaval, student protests, music, terrorism, free love, violence and the birth of free radio. Through the joys and struggles of Irene’s private and professional life, Made In Italy tells the story of a generation living through a period of contradiction, political turmoil and historical change.

The part of Irene is played by young model Greta Ferro in her first TV role. She is ably supported by Margherita Buy, one of the leading lights of the Italian film and TV business. The drama, which is filmed in locations including New York and Morocco, is directed

by Luca Lucini.

One of the most striking aspects of Made In Italy is that some of Italian fashion’s biggest names — Albini, Curiel, Krizia, Missoni and Valentino — have agreed to loan spectacular garments and accessories, adding to the authentic glamour of the production.

Monica Levy, senior vice-president of co-productions and sales at distributor Federation Entertainment, says: “Made In Italy is not only stylistically fabulous, but it enables us to better understand the emancipation of women in a man’s world. We follow Irene as her heart fills and breaks in the exciting and relentless world of fashion.”

Levy also notes that the series is one of the few dramas to have been made about ‘la mode’: “Each episode depicts an influential designer — Armani, Versace — and his unique personality and creative impact. Made In Italy will appeal to a wide but perceptive audience.”

WRITTEN and directed by BAFTA-winning Dominic Savage (Nice Girl), I Am is an anthology drama series for the UK’s Channel 4, devised in collaboration with actors Samantha Morton, Vicky McClure and Gemma Chan.

In one story, Morton (Minority Report) plays Kirsty, who is fighting to keep her family stable in a precarious world.

She tries to stave off disaster through force of will — until her world unravels around her. Next up is Nicola, played

by McClure (Line Of Duty), who is searching for the perfect relationship. She is so caught up in seeking her dream that she fails to notice her dark and complicated reality. In the third story, Chan (Humans) plays Hannah, a thirtysomething lawyer living an ordinary life but searching for a greater purpose. She appears to have it all, but in reality is facing mounting pressure from friends and family to settle down and start a family.

Jason Simms, director of comedy and drama at distributor Sky Vision, says: “I Am is an exploration of relationships, identity and freedom, which has been co-created by Dominic and the actors, drawing on experiences and influences from their own lives. As a result, the standalone stories are highly personal, truly authentic and deeply moving tales.”

In terms of the anthology’s ability to travel, Simms says: “I Am has a strong sense of authorship, which comes from Dominic’s use of improvised dialogue as part of his creative process. This really pushes his actors emotionally and that translates into their performances, which are wonderful. I think the truthfulness in these stories and the subjects they engage with will resonate with audiences everywhere.”

I Am also fits well into a couple of key industry trends, notably the emphasis on strong female protagonists and growing experimentation with the anthology format.

Drama Special Report • 28 • April 2019

MIPDRAMA BUYERS’ SUMMIT

SHADOW LINES (Finland) Period spy thriller (10 x 52 mins) Production: Zodiak Finland Distribution: About Premium Content (APC) Broadcaster: Elisa Finland

IN 1950s spy thriller Shadow Lines, the core premise is that the hottest spot of the Cold War is not Washington or Moscow but Helsinki, where the KGB and CIA were vying for

control of Finland. Against this backdrop Helena, a student freshly returned to Finland from the US, is recruited to join a secret task force, whose goal is to keep Finland independent and prevent the global powers from meddling in the country’s upcoming election.

Laurent Boissel, joint CEO and founder of About Premium Content (APC), says: “The first thing that sets Shadow Lines apart is its unique take on the Cold War. As a neighbouring country of the USSR, Finland’s focus was on remaining independent and, to do so, it absolutely needed to stake its middle ground between the Eastern and Western blocs. As such, the battle in Shadow Lines is a complex one, where every mistake could have dire consequences. If there’s one thing the series doesn’t lack, it’s thrills.”

Story, however, is not enough in itself to cut through, Boissel adds: “The talent behind Shadow Lines has been careful to give the series a distinctive visual treatment and tone. It’s classy, as a period piece should be, but it’s also decidedly modern, in order to immerse audiences in the story. Shadow Lines is full of surprises — it doesn’t shy away from the occasional laugh or stylish action scene. We want audiences to have fun.”

Boissel believes the show will work for a variety of platforms: “It has all the elements needed to travel internationally, both in terms of quality and appeal. The Cold War is part of our shared universal history and there’s definitely an appetite for spy thrillers set against its background.”

THE GULF (New Zealand) Thriller/crime (6 x 60 mins) Production: Screentime New Zealand, Lippy Pictures and Letterbox Filmproduktion Co-producer: ZDF Distribution: Banijay Rights Broadcaster: Three New Zealand, Nine Australia and ZDF Germany

THE GULF is a co-production between New Zealand’s Screentime, Lippy Pictures, German fiction specialist Letterbox Filmproduktion and broadcaster ZDF. Adding to the project’s international sensibility is that it has Banijay Rights on board as distributor and has already been acquired by MediaWorks-owned Three in New Zealand and Nine in Australia.

Directed by Charlie Haskell (Straight Forward), The Gulf is billed as an innovative and complex drama that explores the idea that even good people, given the wrong circumstances, are capable of committing terrible crimes.

Caroline Torrance, Banijay Rights’ head of scripted, says the New Zealand-based series “sees a team of absolute experts in drama production deliver a gripping, fast-paced dive into the world of someone who has suddenly found herself in an unthinkable situation, not knowing whether she can even trust herself. We’re confident it will make compelling viewing.”

German/New Zealand co-productions are not common, but The Gulf will benefit from the fact that Banijay and Screentime have recently come off the back of a co-pro with Nordic partners. Philly de Lacey, Screentime’s CEO and head of production, says: “The creative expertise of all three production houses will ensure that a very special production is delivered to our screens. This dark series is juxtaposed by its setting in the natural harbour of New Zealand’s stunning Hauraki Gulf and Waiheke Island.”

According to Lippy Pictures founders Paula Boock and Donna Malane, the rushes already promise “a dark and dazzling Southern Noir drama” that showcases both the creative talent and natural beauty of New Zealand.

Drama Special Report • 29 • April 2019

MIPDRAMA BUYERS’ SUMMIT

WORLD ON FIRE (United Kingdom) Drama (7 x 60 mins)

THE MIDDLEMAN (France)

Production: Mammoth Screen

Dramedy/fantasy (4 x 52 mins) Production: Les Films du Poisson, ARTE France and GapBusters Distribution: Federation Entertainment Broadcaster: ARTE and Be tv France

A FOUR-part comedy drama, The Middleman tells the story of Olivier, a real estate agent so broke that he camps out in the apartments he is supposed to be selling. Things seem to take a turn for the better when the death of his mother brings an unexpected inheritance — a building in downtown Paris. Finally, Olivier hopes, he will be able to square up with his ex, pay his child support, rebuild his relationship with his daughter and help out his father. Unfortunately, his dreams are dashed when he sees the building. Not only is it completely run down, but there’s an old woman squatting on the top floor, thus blocking his plans for the property. Worse still, a member of the Mafia turns up out of the blue, claiming to be his business partner…

At this point, there is yet another twist — Oliver is thrown back into time. “Suddenly, our hero has the opportunity to appraise the life choices that have led him and his loved ones into the dreadful situation they find themselves in,” says Jean-Michel Ciszewski, head of international at distributor Federation Entertainment.

The Middleman is the brainchild of up-and-coming Israeli writer, creator and director Etgar Keret. In 2007, Keret and Shira Geffen won the Cannes Film Festival’s Camera d’Or Award for their movie Jellyfish. With The Middleman, the two have again teamed up to create a series that Ciszewski describes as “a UTO — an unidentified television object”. He adds: “The Middleman is as imaginative as it’s as absurd. Matthieu Amalric plays the loveable loser with such grace and humour that you can’t help feeling pulled into his strange and awkward universe.

The Middleman will appeal to audiences of all ages and especially those who have an affinity to appreciate the human plight.”

Distribution: ITV Studios Global Entertainment Broadcaster: BBC One UK

WORLD On Fire is an emotionally gripping drama that follows the first year of the Second World War, told through the intertwining fates of ordinary people from the UK, Poland, France, Germany and the US as they grapple with the effect of the war on their everyday lives.

Written by Peter Bowker (Occupation), the series’ high-profile cast members include Sean Bean, Helen Hunt, Lesley Manville and Blake Harrison. Bowker says: “World On Fire tells the hidden human stories within the big historical events we think we know — from Harry, a young English translator in Warsaw caught up in negotiations with the Nazis and trying to smuggle his Polish lover out of the country, to the Rossler family in Berlin, worried for their soldier son and willing to do anything to protect their disabled daughter from the ruling Nazi regime. These are the stories of the people who shaped our world. Stories of loyalty and brutality, courage and fear; stories of love and loss, hopes and dreams.”

Explaining World On Fire’s appeal, Ruth Berry, managing director of distributor ITV Studios Global Entertainment, says: “The sheer scale and execution of World On Fire is more film-like than TV and that, along with its stellar cast, makes it totally unmissable. In World On Fire, Peter Bowker immortalises everyday people and offers us a compelling and authentic account of what war was like, on all sides. It comes from celebrated producer Mammoth Screen and the goal is to see six seasons — one for each year of the Second World War — on screens in due course.”

Drama Special Report • 30 • April 2019

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‘Glamour, style and a pink carpet’

After a spectacular launch in 2018, the second edition of CANNESERIES, the Cannes International Series Festival, takes place once again, from April 5 to 10. Here we look at the 10 series in competition at this year’s edition

CREATED by the City of Cannes in partnership with Reed MIDEM’s MIPTV, year two of CANNESERIES will continue with its mission to showcase excellence in television and to give international exposure and recognition to great series from around the world.

Open to the public, which also gets the opportunity to see cast and behind-the-camera talent on the pink carpet outside the Palais des Festivals, CANNESERIES welcomes international talent and promotes series of all genres, formats and origins. At the heart of the event is the CANNESERIES Official Competition — presided over by a prestigious international jury. But in addition there will be exclusive series screenings, world premieres, a glittering Awards Ceremony and a programme of masterclasses, conference sessions, project pitches

and innovative digital content.

“We created a festival that didn’t exist before, with its own identity, dedicated to series, and attended by creative people from all over the world,” the festival’s managing director Benoit Louvet said of the inaugural CANNESERIES. “It had glamour and it had style with its pink carpet leading up the famous Palais stairs to the premiere screenings attended by both industry professionals and the public.”

The jury responsible for deliberating over this intriguing line-up is presided over by Swiss writer/ director Baran bo Odar, creator of acclaimed Netflix original Dark. Joining him on the jury are UK actor and writer Stephen Fry, Italian actor Miriam Leone, British-French actor Emma Mackey, Canadian actor/director Katheryn Winnick and French musician/composer Rob.

In addition to the Official Selection, CANNESERIES highlights include its Shortform Drama Competition and various Out of Competition Screenings that will premiere during evening events with the presence of the series' cast and crew. They include the world premiere of Canal+’s Vernon Subutex, which will open the event on April 5. Francoise Guyonnet, managing director, TV Series, at the show’s distributor Studiocanal, says Romain Duris stars as the titular character, “an unemployed former owner of record shop Revolver who is evicted from his apartment. In his search for a place to stay, Vernon contacts his former friends who were involved in the music world with him in the 90’s.

One of them is rock star Alex Bleach, who shortly after they meet dies of an overdose and leaves behind three mysterious video tapes. Vernon then slips anonymously into the city where he becomes the most wanted man in Paris” Another hotly-anticipated series that will have its MIPTV World Premiere TV Screening as part of CANNESERIES is Beecham House, Fremantle

Drama Special Report • 32 • April 2019

and Bend It TV’s new original series from director and creator Gurinder Chadha.

Beecham House is set on the cusp of the 19th century in Delhi before the British ruled in that region. It depicts the fortunes of the residents of an imposing mansion surrounded by acres of exotic woods and pristine lawns. Tom Bateman (Vanity Fair, Murder On The Orient Express) takes the role of enigmatic John Beecham, a handsome former soldier who has purchased the magnificent mansion.

The build-up to CANNESERIES 2019 began at MIPCOM 2018, where actor Dominic West received the event’s first-ever excellence award. At the time CANNESERIES artistic director, Albin Lewi, said: “(West’s) breakthrough in The Wire is one of the starting points of the New Golden Age of series and ever since, he has kept surprising us with bold and complex characters.”

• The CANNESERIES Official Competition presents its 10 selected series in the Auditorium Lumiere of the Palais des Festivals.

The series in Official Selection The 10 titles selected for the CANNESERIES competition come from Belgium, Germany, Israel, Japan, Norway, Russia, Spain and, in a cross-border collaboration, the UK/US. Here the festival’s artistic director Albin Lewi comments on the titles in the Official Selection…

FROM Israel comes Nehama, the story of a man who loses his wife in a car crash — and then becomes increasingly alienated from his children as he pursues his dream of becoming a stand-up comedian.

Producers Yoav Gross Productions, Duce Productions and 24 Drafts Studio will be hoping to emulate the success

of Israeli series When Heroes Fly, which was a big winner at CANNESERIES last year before going on to be a success on the international market.

Artistic director Albin Lewi says the show is “yet another example of the amazing quality of Israeli series. It manages to be funny and very moving at the same time.”

How To Sell Drugs Online (Fast) is a German Original from Netflix that comically combines teen love with schoolyard drug dealing, and which Lewi describes as “a very compelling teen dramedy with a unique use of new technology and an incredibly fast-paced rhythm”.

How To Sell Drugs Online (Fast). ©Lars Montag

Magnus is a Norwegian show that sees three outcasts embark on a funny and bizarre quest to solve a murder rooted in Norse mythology. Lewi says the show will “make you rethink everything you know about cop dramas”.

Magnus. ©NKR/Viafilm

Perfect Life is a Spanish series about three women who take radical decisions about their lives to combat their mid-life crises.

“The series tackles the problems of modern couples without taboo and has a rare freedom in its tone,” Lewi says.

Perfect Life. ©Telefonica Audiovisual Digital SLU

Drama Special Report • 33 • April 2019

Junichi is the first-ever Japanese CANNESERIES selection, about a mysterious man who has an intriguing impact on several women. “With its unique pace and rhythm, Junichi brings an alternative to Western productions and really lets the viewers think for themselves rather than explaining everything for them,” Lewi says.

Junichi. ©BUN-BUKU/STAR SANDS

Bauhaus is a German drama series that celebrates Bauhaus on the 100th anniversary of the creation of the radical cultural movement. For Lewi: “The show is a very well-crafted costume drama series, which confirms that German television is in great shape.”

Bauhaus. ©Julia Terjung

The Twelve is a series from Belgium that focuses on the jury in a highly-publicised trial of a head teacher accused of a double murder. “The show,” Lewi says, “is a compelling and original legal drama that focuses on a publicised trial with multiple gripping characters and timelines".

The Twelve. ©Thomas Nolf/ VRT/Eyeworks

Studio Tarara from Belgium is a show about the self-destructive tendencies of the cast of a popular television sketch show. Lewi says: “The first drama series from the local production company Shelter, this Flemish show is a refreshing discovery and a total delight".

Outbreak is an addictive Russian series about a family attempting to survive the post-apocalyptic aftermath of a disease outbreak. “Outbreak takes over the challenge of tackling a classic genre with great efficiency and strong characters,” Lewi says. “It’s the start of a very addictive series.”

Outbreak. ©TNT Premier Studios

The Feed is a dystopian thriller from the UK/US about society’s addiction to technology and our terror of what we would do without it. According to Lewi, The Feed has “an amazing cast, great production value and a plot that asks questions about privacy and the use of technology, a modern theme that everyone can relate to today".

The Feed. ©Studio Lambert & All3MediaInternational

Studio Tarara. ©VTM

Drama Special Report • 34 • April 2019

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