OGM UNIVERSE STARTS ITS INTERNATIONAL JOURNEY FRENCH DOCUMENTARIES, A LOCAL AND GLOBAL TREND
THE CHALLENGES OF THE UKRANIAN INDUSTRY
30% NETFLIX CURRENTLY EXCEEDS THE EUROPEAN COMMISSION’S 30% EUROPEAN CONTENT QUOTA ACROSS THE REGION.
28% IS NETFLIX’S SHARE OF NON-UK EUROPEAN CONTENT COMING FROM GERMANY.
21% OF NETFLIX’S NON-UK EUROPEAN CONTENT COMES FROM IRELAND.
A potential post-Brexit removal of UK titles from the definition of “European” content could pose a significant challenge for Netflix. With the decision be made to exclude UK content from the legislation, Netflix could fall short of the 30% quota.
BBC Studios will launch BBC First linear channel with Orange Moldova, one of the major operators in the CEE region,
marking the premium British drama channel’s debut in the market. BBC First joins already present on the platform BBC News channel, and it is now available to all subscribers of their digital cable TV service. The channel has recently also been launched in Albania with Vodafone, where it is available to subscribers alongside BBC Earth.∙
Leading media company from Kazakhstan, Khabar, has found representation with MediaHub for their original shows. The recent
boost in high-quality Kazakh productions, introduction to new technologies, and varied formats and stories have put Khabar shows on the radar for further global distribution drawing attention from MediaHub, leading to a three-year distribution deal for all Khabar titles.∙
Turkish production company Ay Yapim hosted the International Academy of Television Arts and Sciences for a special event from May 31 to June 3. “International Academy Day,” a high-level, invitation-only four-day event which took place in Istanbul for the first time, provided Academy members with an immersive experience in Turkish culture, Turkey’s TV market, and the global success of Turkish drama. The event featured tours, panels, parties, and a gala showcasing prominent figures in Turkish drama.∙
Sony Pictures Television and Warner Bros. Discovery announced an extension of their content agreement across Central Eastern Europe which will see titles from the Sony Pictures Entertainment slate of upcoming feature films and selected TV series shown exclusively on both HBO channels and the HBO Max streaming platform across the region. The deal will bring Sony Pictures Television’s biggest brands and franchises to Poland, Czech Republic, Slovakia, Hungary, Romania, Bulgaria, Moldova, Slovenia, Croatia, Serbia, Montenegro, BosniaHerzegovina, North Macedonia, and Kosovo.∙
Viaplay Group announced a downgrade of its shortterm outlook for 2023 following an “accelerated deterioration in the operating environment” and “longer than expected realization of its cost savings programme,” according to the company.
After this, Group CEO, Anders Jensen, has offered his resignation. The Board of Directors has accepted Anders’s resignation, and announced the appointment of Jorgen Madsen Lindemann as the new CEO of Viaplay Group, with immediate effect. Madsen Lindemann is the former CEO of MTG, which is the previous parent company of Viaplay Group.∙
Keshet International’s British independent production Keshet UK has appointed Christine Healy to the position of Chief Operating Officer. In this newly created role, the producer will be tasked with expanding the company’s scripted production footprint in the UK. Working out of Keshet UK’s offices in London, Healy will report to Jamie Munro, Managing Director of Keshet UK and also co-Managing Director of Greenbird. In addition to overseeing all aspects of production, Healy’s initial focus will be working with the Keshet UK team to mine the company’s extensive catalogue of international IPs.∙
The second season of “Deception,” the successful TV series produced by TIMS&B Productions and distributed by Inter Medya, has been commissioned by ATV following the success of its debut season. From the creators of the global phenomenon “Bitter Lands,” “Deception” has quickly become a fan-favorite with its unique blend of drama, family and love. The first season has captivated audiences with its storylines and stellar performances from Starring Vahide Percin, Mustafa Ugurlu and Ercan Kesal. The drama has been praised for its engaging storyline that, according to its creators, keeps the audiences on the edge of their seats.∙
Summer 2023 will be crucial for the Ukrainian media industry. The foundation for success has been laid, and many positive developments have occurred. They all appear remarkable against the backdrop of a full-scale war and considering our numerous challenges. However, there is a bigger picture to consider. These developments demonstrate the significant potential of the Ukrainian audiovisual industry and provide strong indications on a larger scale. They prove how essential and strategically important content production and showcasing are for society.
Firstly, content production in Ukraine has not ceased for a day since the war started and is now returning to its industrial level. That applies not only to documentary production, which has been ongoing since the early days of the war. The country is producing content across various genres and directions. This production fills Ukrainian channels' schedules with premieres and allows Ukrainian filmmakers to attract partners, including for filming in the country. At the same time, collaborations with foreign partners are already being realized.
A great example is the "Those Who Stayed" series, co-developed and co-financed by FILM.UA Group with Red Arrow Studios International. The series is being co-produced by SVT Sweden, NRK Norway, and YLE Finland. "Those Who Stayed" is a six-part anthology series inspired by true stories of people in Kyiv during February and March 2022, following
the onset of the Russian invasion. This unique series showcases stories of hope and triumph, with a touch of humor, in the face of adversity. The series premiere date on Finnish TV has already been announced: November 21, 2023.
Another significant example of international collaborations is the financing and co-production of the Ukrainian drama series "In Her Car" by Gamount, created by showrunner Eugen Tunik ("Early Birds") and produced by Kyiv-based Starlight Media. The series is based on true events experienced by Ukrainians during the first days and weeks of the war. Filming is underway, and the premiere is scheduled for February 2024. The projects depict the first weeks of the full-scale invasion and hold ambitions to become not only a Ukrainian series for the domestic audience but also captivate global audiences.
That outlook directs to a crucial third trend that should be noticed: the increasing demand for Ukrainian content. That demand is primarily observed in the local market. Data from Ukrainian theatrical distribution confirms that Ukrainians demand Ukrainian stories. Theatrical distribution resumed in July 2022 with FILM.
UA Distribution's first theatrical release. Since then, 19 national films have been released in Ukrainian cinemas, attracting over 1.5 million viewers and generating a total box office revenue of USD 5 million. As of May 1, 2023, national films have achieved an impressive milestone, accounting for 30% of the total box office.
Polina TolmachovaA fourth trend, closely related to the previous one, is the increasing global demand for Ukrainian content and the growing interest among international audiences, both at commercial and artistic levels. Ukraine had a remarkable presence at cinema festivals in 2022 and 2023, with Ukrainianproduced documentaries making it to the Oscar shortlist. Another example is the successful distribution of Ukrainian films. The most notable example is "Mavka: The Forest Song." The animated movie has been sold to over 80 territories and has achieved tremendous success in Ukraine, becoming the highest-grossing local film and the highest-grossing animated feature ever released.
Last but not least, the fifth trend is the growing demand for Ukrainian services, which kept high quality and competitiveness despite the challenging circumstances. Ukraine's presence in animation, post-production, VFX, cuttingedge technologies, and design is expanding and gaining strength on a global scale.
All these trends represent potential routes, but their further development depends on various factors, including politics, economy, and, unfortunately, military circumstances. However, being optimist, a positive outlook is possible thanks to unique past experiences. The Ukrainian audiovisual industry has overcome numerous economic and ideological crises. Paradoxically, Ukraine has a unique opportunity to serve local audiences and become a powerful player in the global content market.
By Polina Tolmachova, CMO of FILM.UA GroupAGAINST A FULL-SCALE WAR AND NUMEROUS CHALLENGES, UKRAINE HAS A UNIQUE OPPORTUNITY TO BECOME A POWERFUL PLAYERIN THE GLOBAL CONTENT MARKET.
ARM OF TURKISH PRODUCER OGM PICTURES, DESCRIBES THE BUSINESS GOALS OF THE COMPANY AND THE POTENTIAL OF ITS CATALOG.
Last October, OGM Pictures, one of the leading production companies in Turkey, announced the launch of OGM Universe, its global distribution arm for both Turkish and international projects. This global distribution company is headed by Ekin Koyuncu, who serves as Global Distribution & Partnership Director at OGM Universe. “The first few months, we spent much time explaining the new company to the clients and why we launched it. The titles we have were known, as they have traveled to many territories around the world. However, the OGM brand was not. Therefore, we spent much time explaining that OGM Pictures is the producer of all those hit series people know. We also described the OGM Universe and what we are doing,” Koyuncu told Señal News.
This year, OGM Universe made its first appearance at the LA Screenings, highlighting some of OGM Pictures’ freshest titles such as “Stickman,” about a man’s journey as he overcomes challenges and turns adversity into a game; “Miracle of Love,” about a brave commander who never ages after being resurrected during
a historic battle; and “Broken Destiny,” which follows the story of a man who wakes up from a coma to a family he does not recognize. “We are working on the licenses of those titles. So far, we have done a great job in Central and Eastern Europe and some territories in the CIS. Around Latin America, the players usually expect the titles to be completed and dubbed. Therefore, we need a bit more time there, but we are making great progress with our discussions in the United States. Hopefully, we will announce some new deals soon,” Koyuncu commented.
Founded in 2019, OGM Pictures quickly became one of the leading producers of Turkey for both linear and non-linear, with an outstanding track record. It is the first Turkish production company to have its shows on global digital platforms such as Netflix and Disney+.
OGM Pictures has been responsible for titles such as “The Innocents” (TRT), “Red Room” (TV8), “Chrysalis” (Kanal D), “My Home My Destiny” (TV8), and “Golden Boy” (Star TV). It has also worked with Netflix on various projects such
as “The Gift,” “Paper Lives,” “One Way to Tomorrow,” “Last Summer,” “Yakamoz S-245,” “Anotherself,” and “The Festival of Troubadours.” Moreover, the company has partnered with Disney+ on “Ben Gri.” “OGM Pictures’ content that other parties are distributing is traveling amazingly. For example, ‘Golden Boy’ is doing great in Latin America. This year we will see ‘Golden Boy’ everywhere in the region. After the success of this series, we hope that some other titles in our catalog will also be traveling in that territory. We also discuss partnerships and coproduction opportunities, especially in Latin America and the US Hispanic. That could be, for example, a remake of our previously produced titles or maybe new Turkish originals,” Koyuncu said.
Currently focused on enlarging its sales team, the company is also preparing to add some new content to its offer shortly. “This season, in late August, we will add new titles to our catalog. We do not have the names yet, but we are producing them for Star TV in Turkey. In 2024 we will be producing at least four new primetime series and some daily dramas,” Koyuncu anticipated.
“It is a great challenge to expand our brand and is not not easy. It is a very tough and competitive market. You need to have strong content, but ours surely is. I see more clients willing to create diversity in their programming slates. Therefore, they are open to taking more risks and betting on different genres. In Turkey, we are not all about drama; we have much more to offer. Nowadays, the genre approach in Turkish productions is expanding,” the executive concluded.
By Fernando Calviño & Federico Marzullo
example is 'Ninja Warrior,' a big and expensive show, so many smaller countries cannot afford it. We try to bring, for instance, a European hub to Brussels, where we could work with countries from around Europe", he explained.
The ATS Team's program slate is well-known for challenge and adventure formats, but the company has been growing in recent years and expanding its global offer. Their catalog now includes one true crime docuseries, a hybrid dating game-show, and a female-focused comedy panel show. "We like to stay true to what we're known for, but we don't want to miss out on any opportunities," said Shayna Waldman, Development and Production Executive at the company. Strong IPs such as "Ninja Warrior," "Top Dog," and "Million Dollar Fail" allowed The ATS Team to cross borders, produce, and offer production services in many regions. "'Top Dog' has been very successful in Germany for the third year, which means that it should be going global now," commented
François-Xavier Arguillère, Head of Production. "We can bring our expertise regarding this show that we've been producing for three years anywhere in the world," he added.
While many countries can't afford the production of large formats, The ATS Team is pushing the idea of creating production hubs in different regions of the world. "We are much aware of the economic situation in each country, so we tried very hard to sell the idea of the hub," Arguillère stated. The executive mentioned that Latin America is a very attractive place to start a hub, and the company is also pushing the initiative in Europe. "One strong
Last year, The ATS Team launched its original content production arm, ATS Originals, and its entire production services arm, ATS Productions. "They've all grown; we've done a good job of meshing them together because they all work organically with each other," Waldman said.
Whereas ATS Originals is focused on creating original, nonscripted formats for networks and broadcasters worldwide, the ATS Productions division handles every stage of the upcoming projects, from casting and pre-production to post-production. "We're able to offer something to the table, whether it is creative development, international set up of the production, set design, or even problem-solving for game mechanics or stunts," Waldman said. Recently, The ATS Team has led the line production of "The Bridge" alongside Workerbee and two seasons of "SAS: Who Dares Wins" from Minnow Films, both in Vietnam. "We have many connections in Asia; it is an attractive market for us. We are continuing to grow our relationships down there and especially understand its climate and culture," Waldman stated. In that direction, Europe and Latin America are attractive markets for The ATS Team. Danny Sanz was promoted to COO of the company and oversees The ATS Team's international expansion, explicitly prioritizing the US, Europe, and Latin America production markets.
By Romina Rodríguez and Karla FloresSHAYNA WALDMAN, DEVELOPMENT AND PRODUCTION EXECUTIVE, AND FRANÇOIS-XAVIER ARGUILLÈRE , HEAD OF PRODUCTION, EXPLAIN HOW THE COMPANY IS EXPANDING ITS PRODUCTION MODEL TO MAKE EVERY FORMAT AFFORDABLE.Shayna Waldman, Development and Production Executive FrançoisXavier Arguillère, Head of Production "Ninja Warrior"
Québec ranks among the most production-friendly service centers, acclaimed for its technological innovations, superior CGI facilities, a broad range of filming locations, top film production infrastructure, and a large pool of skilled technicians. Señal News spoke with Élaine Dumont, Executive Director, International Affairs, Export and Marketing distribution at SODEC, to describe its business focus.
SODEC will attend Conecta Fiction & Entertainment again in 2023. What feedback did you get from last year’s edition?
"At SODEC, we were happy to be able to discover Conecta Fiction & Entertainment last year and to start developing closer ties with the Spaniards. Conecta is an event with a human dimension that allows us to take more time to meet people, which was very appreciated by Quebecers. The Conecta Think Tank has been mentioned in particular as a valuable event to meet people and learn about each other by exchanging their mutual challenges. It was also an opportunity to realize how much they have in common".
What specific developments started at Conecta last year?
"Since then, at least one Québec project has found a
Spanish broadcaster, and many meetings have occurred between Quebecers, Spanish, and European producers. Quebecers who return with us for a second year will be able to resume discussions with potential clients and partners that were initiated last year."
How important is it for SODEC's companies to intensify and expand their global relations?
"We know these relationships take time to develop and require support and persistence. Thus, SODEC is back for a second time at Conecta this year with the same objective: to offer opportunities for business meetings between Québec and Spanish producers, distributors, and broadcasters with whom they share several affinities. The 'Conecta Meet Lunch' on Wednesday, June 28, will also offer an opportunity to network and will feature the seven production and distribution companies present at Conecta with SODEC this year: Amuz Distribution, Attraction Images, Duo Productions, Encore Télévision-Distribution, Just For laughs, Pimiento Médias and Zone3."
What type of companies are attending the event, and what will their goal be there?
"Two types of companies are with us this year: producers and sales agents, who arrive with interesting productions and formats for all types of platforms. We are also pleased to see that Québec's visibility has increased this year, with Québec professionals being active in several programmed activities, such as three panels: 'New financial models,' with Richard Jean-Baptiste, VP Business Innovation, Executive Producer at Attraction Images; 'Warrior Platforms,' with André Béraud, Senior Director, Scripted Programs at Radio-Canada; and 'Carrying out projects with a budget for all pockets,' featuring Josée Vallée, Executive Vice President, Scripted and features films at Sphere Media. Quebecers will also be part of the upcoming business mission 'Conecta Roadshow,' sponsored by ICEX/Invest in Spain, Spain Film Commission, and RTVE, at the end of June. Moreover, SODEC is also continuing its collaboration with the Bureau du Québec à Barcelone at Conecta. Adèle Samjee, the Bureau Cultural Affair Attachée, will also attend the event."
By Romina Rodriguez
IN 2023, THE FRENCH MINISTRY OF CULTURE LAUNCHED THE "YEAR OF DOCUMENTARIES" INITIATIVE TO HIGHLIGHT THE PROLIFIC COUNTRY'S DOCUMENTARY PRODUCTION. EXECUTIVES FROM LEADING LOCAL EXPERTS IN THE GENRE DESCRIBE THE CURRENT OUTLINE OF THAT BUSINESS.
France has always showcased its variety and creativity in storytelling the real world, culminating in 2023 with the French "Year of Documentaries," an initiative by the French Ministry of Culture. "We are uniquely fortunate to benefit from a very virtuous funding system that allows the documentary industry to address all kinds of subjects," expressed Cloë Pinot, Sales Executive at Balanga.
Leading directors, writers, and producers create character-driven films and series, strong narrative arches, and powerful stories for a new and younger audience interested in watching these films and series."
Kwanza has signed a strategic co-production and distribution partnership."
"Our eco-system is composed of prestigious commissioners, whose high standards and tone are known by broadcasters around the world, which helps us to gain recognition for the French productions we represent and to facilitate their export," she added. In the same line, Myriam Weil, Head of Documentaries at Federation Studios, affirmed that it's a fascinating period for documentaries. "Streamers have had a global impact on the genre.
For Véronique Commelin, Head of Distribution at CLPB Rights, the documentary remains a very popular genre in France and can even perform high ratings in prime time. "However, despite substantial financial involvement from French linear broadcasters, the genre remains under-financed, and the input of international financing remains crucial. Although less popular than fiction, French documentary is constantly highly demanded and managed to impose itself on a worldwide scale, despite the great competition coming notably from the US, UK, and Germany."
In addition, Laurene Voilliot, Head of Sales & Acquisitions at Only Distrib, mentioned that documentary is a vital genre in France as various slots and channels are dedicated to them, and authorities support this genre. "They are appreciated internationally. However, we witness trends in the types of programming channels are looking for, and it is sometimes difficult to diverge from it."
For Benjamin Ternynck, CEO of Kwanza, French documentary is living its golden age as audiences crave more amazing authentic stories. "We are lucky to be supported by robust French public TV and private media groups like Altice (RMC Découverte and RMC Story channels), with whom
Sandrine
Managing Director at Lukarn, distinguishes between two types of French documentaries: the very local interests, which are by far the most numerous documentaries produced, and the international ones. "The international audience is only interested in the second kind. Distributors suffer from a lack of big international-oriented productions because the
production costs are increasing, and the producers have more difficulty finding money to work properly in France. Broadcasters' budgets are tight, and subsidies are rare. Then producers have no choice but to buy only the rights to supply broadcasters; the charge is on the distributors to finance the extension to the international rights (archives and music mostly). Distributors are getting more involved at the beginning of the productions, supporting them with MGs and presales. That is maybe something that distributors were used to for fiction and animation, but this is also becoming the rule today in documentary production and distribution," Frantz stated.
Yet, Pinot from Balanga analyzes how local stories have the power to reach an audience outside its borders and become universal. "For this reason, the main challenge would be to seek a universal story without losing the 'French touch.'" In the same line, Frantz affirmed that as a distributor, they have to find content that covers universal themes that can be of interest to all their clients worldwide. "There are several challenges when deciding to produce a documentary, but amongst them is finding a way to
Side." Balanga is promoting "The Mysteries of Picasso," a premium biography produced for France
Télévisions as well as the film "The Ghosts of Oil" and the documentary "China-USA: A new Cold War," a piece of very topical news given the current political context.
The financing and the global appeal of local productions arose as the main challenges for French producers and distributors. "The budget gaps remain an important issue, as producers can directly impact accessing archives and are unable to opt for more costly editorial choices such as CGI or special effects. Coping with the ever-changing geopolitical situation is another frequent challenge, as it can impose unexpected difficulties in terms of filming," Commelin described. "The demand for quality documentaries continues to grow, and the main challenge is to be able to finance more ambitious projects," Benjamin agreed.
produce content of local interest for our local broadcasters that will also have an interest on the international market," Voilliot stated. Weil also added that there are as many challenges for the doc genre. "I could highlight the access to talent, exclusivity, the value chain of each title, competition in the global market, and, most important, reality!" she concluded.
In this new row of French documentaries that travel worldwide, CLPB Rights stands out the Arte series "There were millions of Them," the brand-new documentary "Insurgents!"; "About the Vikings, Beyond the Myths," the new Arte documentary "Clockwork Orange," "The Prophecy of Anthony Burgess," and the science documentary and international co-production "Beyond the Far
Kwanza is featuring its documentary "Rebirth," a worldwide investigation on the future of the planet and the solutions to preserve it, and "Inside D-Day: Filmmakers on the Frontline," inviting audiences to experience the Battle of Normandy first-hand. Amongst Federation Studios' documentary slate are "MH370," an extensive investigation about the disappearance of Malaysian Airlines flight 370, and "Peter Doherty: Stranger in my Own Skin," which follows punk rocker Peter Doherty over a 10-year period.
On the other hand, Lukarn is pushing its documentaries
"Tanis, Raiders of The Lost Silver Pharaohs," "Olympic Games: Friendship, Respect and Excellence," "Mennonites, Into The Heart of a Secret Community," "#Essential," and "Gorongosa, The Park of Reconciliation." Moreover, Only Distrib is highlighting the travel documentary series "Off The Roads," together with "Fashion to the Challenge of Handicap" and the science documentary series "Shapers of Tomorrow."
By Romina Rodríguez
