6
AMPERE’S LATEST DATA SHOWS THAT SPENDING ACROSS TOP SIX GROUPS WILL REACH A NEW HIGH IN 2024 AND ACCOUNT FOR 51% OF THE TOTAL CONTENT SPEND.
GLOBAL
$56bn
ORIGINAL CONTENT SPEND REMAINS THE LEADING SPEND ACROSS THESE COMPANIES.
#1
DISNEY REMAINS THE LARGEST CONTENT SPENDER, WITH 14% OF GLOBAL INVESTMENT IN 2024.
International (non-US originating) programming accounts for 40% of Paramount+’s and 52% of Netflix’s spend in 2024. Such content is typically cheaper to produce, and effective in motivating new and niche audiences to subscribe to a platform, supporting revenues.
LEBANON’S ”AL HAYBA” TO BE ADAPTED IN TURKEY
Cedars Art Production (Sabbah Brothers), creators of the Lebanese drama ”Al Hayba,” announced the Turkish adaptation of the series, titled “Far Away” and produced by AyNA Yapim. The adaptation marks a significant milestone in Cedars Art’s ongoing strategy to expand its global footprint. The original Lebanese series “Al Hayba,” spanning five seasons and 150 episodes, captivated audiences across the Middle East, with its cinematic finale released theatrically worldwide. •
BETA AND GLOBO CLOSED A NEW PARTNERSHIP
Beta Film joins forces with Grupo Globo to commission the development of the crime drama “Discipline” (w/t), marking the beginning of a multi-year partnership between the two content powerhouses. The eight-hour series is created by Konrad Dantas, founder of KondZilla, and by showrunner and creative producer Felipe Braga. Braga’s LB Entertainment and KondZilla will produce for Globo, Beta Film and Janeiro Studios. •
GLOBAL AGENCY OFFICIALLY LAUNCHED “CELEBRITY DREAMS” FORMAT
Global Agency opened the red curtain and launched their top secret project “Celebrity Dreams” exclusively to their top buyers and media in St Tropez, before Mipcom’s beginning. The event included a special screening session, followed by a lunch and a party. According to the company, “Celebrity Dreams” will transform the way audiences view famous people, revealing them in a new and inspirational light. Each episode begins at the star’s home with the story of their journey to fame before revealing their hidden fantasy; whether they long to be an actor, singer or artist. •
ITV STUDIOS TO LAUNCH A
NEW LABEL, ZOO 55
ITV Studios will take its existing digital business to new heights by evolving it into its own label, Zoo 55. Martin Trickey, who joins from WarnerBros International TV Production in January 2025, will be Managing Director, reporting to Ruth Berry, President, Global Partnerships & Zoo 55. Graham Haigh, currently EVP Digital, will partner with Martin as COO. Set to launch in early 2025, Zoo 55 will take more ITV Studios brands even further into digital including YouTube channels, social media and streaming platforms, building on the existing portfolio of 140 YouTube channels, 18 FAST channels across 17 territories and 100+ platform feeds globally. •
DUBAI STUDIOS PARTNERS WITH THE INTERNATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES
The International Academy of Television Arts & Sciences and Dubai Studios, a Dubai Media Company, signed a long-term “Gala” partnership, which marks a significant milestone in fostering television excellence from the UAE and promoting cross-cultural collaborations within the global entertainment industry.
Beginning in 2025, Dubai Studios will join in sponsoring the International Emmy World Television Festival and the International Emmy Awards Gala in New York. Additionally, each year Dubai Studios will host a Semi-Final Round of Judging event for the International Emmy Awards competition, in Dubai. •
INTER MEDYA TO GLOBALLY DISTRIBUTE TIMS&B PRODUCTIONS’ TWO NEW DRAMAS
Tims&B Productions has teamed up with Inter Medya for the global distribution of their latest hit TV dramas, “Valley of Hearts” (“Siyah Kalp”) and “Loveberry” (“Karadut”). These two series from Tims&B Productions made their international debut at Mipcom. “Siyah Kalp,” currently airing on Show TV in Türkiye, explores the dark secrets and fierce power struggles within the powerful Şansalan family. On the other hand, “Karadut,” airing on ATV in Türkiye, follows the journey of a successful personal development expert whose seemingly perfect life takes a drastic turn when she falls in love with someone she shouldn’t. •
CALINOS CELEBRATED 25 YEARS AND LAUNCHED “HIDDEN GARDEN”
Calinos Entertainment celebrated its 25th anniversary with an exclusive private event at Copal Beach, Cannes, during Mipcom. In addition to commemorating two and a half decades in Turkish content distribution, the event introduced the company’s new TV series, “Hidden Garden,” to the international market. The event was attended by stars of the show, Ebru Sahin and Murat Yildirim, along with producer Erol Avci, the series’ scriptwriter, and director. Firat Gulgen, Owner of Calinos Entertainment, made a speech and reflected on the company’s journey and mission to “spread joy to a global audience through the power of Turkish drama.” •
MENA REGION: THE DIGITAL BOOM AND THE VALUE OF LOCAL PLAYERS
THE OTT MARKET IN THE MIDDLE EAST AND NORTH AFRICA EXPERIENCED ROBUST GROWTH IN THE PAST YEARS, WITH REVENUES EXCEEDING $1 BILLION. DEMAND FOR NONENGLISH CONTENT ACCOUNTS FOR OVER 50% OF THE TOTAL DEMAND, SHOWCASING A REMARKABLE SHIFT IN VIEWER PREFERENCES.
The dynamics of the Middle East and North Africa (MENA) audiovisual industry show challenges and opportunities for all players active in the region and those wanting to grow in this key global battleground. The OTT video streaming market in the Middle East and North Africa (MENA) region experienced robust growth in 2023, with Omdia data reporting a 13% increase across the region and revenues exceeding $1 billion. Leading in this dynamic market are Shahid and StarzPlay, which dominate with significant market shares and innovative strategies. The OTT market's impressive growth in 2023 underscores the region's increasing demand for digital entertainment, with revenues exceeding USD 1 billion. Strategic partnerships and bundle offerings have been critical to this success, enhancing accessibility and content diversity. Omdia forecasts continued positive results, with revenues expected to reach $1.2 billion in 2024.
Year-round content production has mitigated seasonal subscription fluctuations in the MENA region, leading to higher subscription rates and reduced churn after Ramadan. Despite this, Ramadan remains a peak period for drama, with platforms like ADTV
and Watch IT gaining significant popularity to meet regional demand. Omdia's research shows that Shahid, part of MBC, leads the MENA streaming video market with a 22% market share, amounting to 3.6 million subscribers by the end of 2023. Shahid's strength lies in its extensive local Arabic content, which resonates deeply with regional audiences, especially during Ramadan.
StarzPlay is betting big on sports content, with exclusive rights to major sporting events such as the Cricket Asia Cup (September 2023), Cricket World Cup (October 2023), IPL (May 2024), Rugby World Cup (October 2023), Six Nations (March 2024), and UFC (March 2024).
ONLINE VIDEO SUSCRIPTION REVENUES IN THE MENA REGION
StarzPlay follows closely with an 18% market share and 3 million subscribers. Identifying and filling content gaps in the region has allowed StarzPlay to strengthen its competitive edge through a soft AVOD launch in November 2023, followed by a full launch in February 2024. The platform also launched more exclusive content, with the highly anticipated series "The Walking Dead: Dead City," which premiered in March 2024. Finally,
In that context, online video advertising presents the most significant growth opportunity, while MENA's Pay TV expansion demonstrates how bundling can combat piracy. FAST channel revenues in MENA hit $7.2 million in 2023 and are poised for rapid growth. The future of streaming video services in the MENA region appears exceptionally promising, with Shahid and StarzPlay at the forefront of innovation and growth. The market is expected to continue its upward trend, offering a more comprehensive array of localized content to cater to the evolving preferences of Middle Eastern audiences.
Bad news for Netflix in the MENA region: while the market is expected to grow from 12 to 26 million subscribers across 13 Arab-origin countries by 2029, the American company's growth will be more limited compared to its Saudi competitor, Shahid, according to projections from
OVERVIEW
Digital TV Research. On one hand, Shahid will overtake streaming leader Netflix, with its subscriber base rising from 3 million to nearly 6 million by 2029. With 3.8 million subscribers at the end of 2023, Netflix is expected to reach 5.6 million subscribers by 2029.
On the other hand, StarzPlay is predicted to have a subscriber base of 5 million in the next five years, while Amazon and Disney+ will have 3.2 million. According to Digital TV Research's findings, OSN will climb to 1.5 million subscribers, and Apple TV+ will only rise to 500,000.
SVOD SUBSCRIBERS BY PLATFORM IN ARABIC-SPEAKING COUNTRIS IN 2029
TV has become more prominent in global markets, bridging the demand-supply gap, with series such as "The Glory" taking the world by storm. This trend is mirrored in the MENA region, where nonEnglish content now makes up more than half of the demand, led by growing demand for Chinese, Korean, and Japanese content. These findings emphasize the growing appetite for diverse Asian language content in the region.
GENRE DEMAND SHARE IN THE MENA REGION
LANGUAGE DEMAND SHARE
DEMAND
CONTENT DEMAND
As the entertainment landscape is experiencing a significant shift in consumer demand, non-English content is taking center stage. According to the latest report by Rise Studios and Parrot Analytics, the demand for non-English content in the MENA region is over 50% of the total market, showing a shift in viewer preferences. Specifically, Arabic content now represents over 25% of the total demand in MENA, almost doubling the demand seen in 2022. Overall, the share of global demand for non-English content grew to 40% in 2023, up from 23% in 2018. In recent years, Asian-language
Genres with strong appeal harness universal motifs, universally relatable protagonists, and gripping tales that breach cultural barriers, captivating a broad spectrum of viewers. Drama remains the most in-demand genre by far. Still, MENA audiences have shown an increased interest in animation content, growing from 6% to 12% in the last five years, likely due to compelling storylines that appeal to young and adult audiences. Rise Studios and Parrot Analytics report also revealed that the yearning for content in the Arabic language has
grown exponentially, highlighting an opportunity for homegrown stories. Finally, during Ramadan 2024, the media and entertainment landscape across the MENA region and other regions with Muslim communities witnessed a significant transformation. During Ramadan, digital platforms witnessed a notable increase in user engagement. For example, TikTok reported an 8% rise in entertainment content consumption as users sought lighthearted and culturally relevant distractions. Sports content on the platform experienced a remarkable 22% increase, likely driven by community viewing during evening gatherings. Additionally, food and drink content surged by 23%, reflecting the centrality of Iftar and Suhoor in daily Ramadan life. The diverse content range accommodated users' varying needs, with peak activity occurring between Iftar and Suhoor.
By Diego Alfagemez
ENGLISH-SPEAKING TURKISH DRAMA
IS TAKING THE
STAGE
MAAD ENTERTAINMENT
PRESENTED "EL TURCO" AND "RU" AT MIPCOM, WHICH STAND OUT FROM TRADITIONAL TURKISH DRAMA SERIES AS THEY PREPARE TO ROLL THEM OUT GLOBALLY.
At last Mipcom, Maad Entertainment presented its two new drama series to be distributed worldwide: "El Turco," an atypical historical drama featuring an English-speaking cast from nine different countries, and "RU," an eight-episode super series about a young boy and his romance with a married woman 20 years older than him.
In a presentation at Cannes, Kerem Çatay, CEO at Ay Yapım, producer of "El Turco," and Can Yaman, the lead role in the series, talked about the new approaches to storytelling are extending Turkish Drama's reach, particularly in the English-speaking world. "We were initially going to shoot in Turkish, but going forward with
an English-speaking show was a big decision," said Kerem Çatay. "Everything was so right once we cast Can. He was the right guy for this project and that made it perfect. After he came in, and we assembled this incredible European crew, we just went bigger during preproduction," he added. Can Yaman said this project was entirely different from any other he has faced before. Being based on the legend of "La Turchia," a festival that has been celebrated for over 300 years in the Italian village of Moena, the team needed to find a setting that did not resemble Türkiye and looked more like the European village, which is why the show was entirely shot in Hungary, at Korda Studios. "In Hungary, they have a stage that we can use easily, and they have good knowledge because they work a lot with American productions," Yaman explained about why they chose this country for the production.
As the company begins to roll out the series globally, Ateş İnce, Managing Director of Maad, shared his high hopes for the series' performance worldwide, anticipating big interest from buyers: "Everybody wants to have 'El Turco,' but we have to have the right partner for each territory." He added that a key challenge will come to coordinate the show's global release, which will take place simultaneously in early 2025. "Right now, more than a dozen countries are in discussions for this show," he anticipated.
As for "RU," which premiered on Türkiye's Gain platform, it was introduced at a special panel, where Medyapım President Fatih Aksoy, lead actress Meryem Uzerli, and Ateş İnce, discussed the
series' potential. Aksoy highlighted the show's suitability for digital platforms and shared that a second season is in the works. Uzerli explained that the series appeal factor is the emotional involvement from the cast: "You can't produce or bring something on the screen where the audience is touched by when they don't feel the emotional transparency. It's so important that you are emotionally transparent with each other because it lets you connect and potentially build something great together," she stated.
Looking ahead, Ateş İnce believes these diverse projects will help change the perception of Turkish Drama and build bridges to a broader audience. "I think Türkiye is very good at telling love stories in classical Turkish dramas. Now, everybody accepts that there is something different in Turkish storytelling. But 'RU' is much more different than a classical love story. I believe it will open new markets for us," he concluded.
By Federico Martinez
MIA MARKET 2024: TEN YEARS OF DRIVING THE ITALIAN CONTENT INDUSTRY
Founded in 2015 and grown through a joint venture between ANICA (Italian Association of Film, Audiovisual, and Digital Industries) and APA (Italian Audiovisual Producers Association), MIA | Mercato Internazionale Audiovisivo has celebrated its tenth anniversary this year in Rome. "Year after year, MIA has become a destination for international players eager to discover
MIA | MERCATO INTERNAZIONALE AUDIOVISIVO, PROMOTED BY ANICA AND APA, HAS POSITIONED ITSELF AS A MUST-ATTEND EVENT FOR MAJOR ITALIAN PLAYERS AND INTERNATIONAL PRODUCERS AND DISTRIBUTORS EAGER TO DO BUSINESS WITH ITALY.
some of the most exciting topics and anticipated trends in our industry," said Gaia Tridente, Director of the event. She also emphasized that, for the first time, each event's division (Cinema, Documentary, Drama, and Animation) is genuinely working on an international showcase. "When we first developed MIA's program, it was primarily designed to present and promote the best of Italian shows and films. As MIA becomes increasingly international, we are also spotlighting European productions. I truly hope the selection will captivate all the delegates," she added. In this anniversary edition of MIA, attendance has increased by 10% compared to the 2023 edition, with over 2,800 participants from 60 countries. Over 6,00 projects were received this year for the Co-Production Market and Pitching Forum, with a
+20% compared to 2023 and a 12.5% increase in the number of countries of origin from all continents, from 80 to 90.
This year's edition also introduced four new MIA Development Awards, where juries evaluated projects in four categories: animation, film, drama, and documentary. "We wanted to celebrate the industry and those who have trusted us over the past ten years. Since MIA's inception in 2015, we've counted every project presented and tracked how many have gone into production or secured creative, financial, co-production, or distribution partners. Around 104 projects have reached these milestones, including major films, numerous TV dramas, a wealth of documentaries, and several animated films. We are incredibly proud of this, and this year's edition will truly be a landmark for MIA," Tridente concluded.
€2 BILLION INDUSTRY
The Associazione Produttori Audiovisivi (APA) presented its sixth annual "Report on National Audiovisual Production," revealing that the value of Italian audiovisual production has nearly doubled since 2017, surpassing two billion euros. Production volumes across the three main distribution channels have grown compared to 2022: television remains the most important, thanks to entertainment and other unscripted genres. Meanwhile, film production increased by 21%, Video on Demand platforms by 16%, and TV by 8%. The growth of Italy's audiovisual industry is undeniable: with revenues exceeding 12 billion euros in 2023, the industry saw a 20% increase compared to the previous year. Television continues to lead, generating 8.2 billion euros in revenue (71% of the total market), while online platforms (AVoD and Pay VoD) reached 2.8 billion euros (24% of the market). The remaining share comes from cinema, which is experiencing a solid recovery after the pandemic. "In 2024, the Italian audiovisual market has entered a new phase of development," commented Chiara Sbarigia, President of APA. "The growing demand for content and tax incentives have been key drivers in strengthening the sector in recent years, which is undergoing significant transformation. A stronger focus on quality and producing content that resonates beyond national borders is essential for enhancing the rich legacy of the Italian audiovisual market and boosting its global competitiveness."
THE FUTURE IMPACT OF AI
In light of Artificial Intelligence's current and future impact on the audiovisual sector, MIA | Mercato Internazionale Audiovisivo featured a special session that explored the transformative role of AI across the production chain and examined the implications of the recent AI Act. Martin Dawson, Deputy Head of Unit Audiovisual Industry and Media Support Programmes, DG CONNECT, European Commission, introduced the
panel by stating that artificial intelligence is an exciting and rapidly emerging field. "We all have to learn more about IA," he said, emphasizing that the European Union is the first in the world to regulate artificial intelligence, establishing a legal, regulatory framework. "We do not want to prohibit artificial intelligence; we want to ensure that AI is a common good, both from a social and economic point of view," he added. Enrico Bufalini, Project Manager, Creative Europe Desk Italy MEDIA; Director, Archivio Luce, Cinema and Documentary, Cinecittà SpA, added that Artificial Intelligence is reshaping how the industry creates and experiences films and content. "Nevertheless, we consider it a threat regarding the possible loss of jobs in the near future," he indicated. "The Ministry of Culture and the Italian government, by the EU, are working on regulating AI, trying to balance technological innovation and copyright," he mentioned. Moreover, Bufalini admitted that he uses AI tools. "They are very useful; it's essential to have such tools to automate and reduce our repetitive tasks. Moreover, AI is helping special effects artists push the boundaries of what is visually possible, creating immersive worlds that can fascinate audiences globally. Machine learning algorithms are also being employed to analyze trends and predict what kind of content will resonate with viewers, helping studios make data-driven decisions in an increasingly competitive industry," he described.
Radek Wegrzyn, Co-Founder and CEO, Magical Realist (Germany); Dariusz Jabloński, President, European Producers Club (Poland); Christina Caspers-Roemer, General Manager & Managing Director, TRIXTER (Germany); Miki Mistrati, Executive Producer, Snowman Productions (Denmark); Ariens Damsi, Producer & CEO, Eliofilm (Italy); and Carlo Rodomonti, Head of Strategic and Digital Marketing, Rai Cinema; shared their experiences with AI. Mistrati said networks and broadcasters need to be pushed into the AI world. "Ultimately, it's just the best assistant you can get as a creative person. There are positive waves at the moment, but from a political point of view, they are a bit more afraid and want to build a wall around using AI in creative environments." He also asserted that AI is often the best tool for creative work because it digs into things deeply.
R. Fiorini, M. Forte, F. Rutelli, L. Lei, G. Tridente, M. Levi
OVERVIEW
Damsi spoke about his AI-powered film, which was presented in Venice and created entirely without actors or human voiceovers. "The only human parts, the most important ones, are the creation, the idea, and the development of the concept and script. Our AI film is sensational, but the thing that blows my mind is that the human work we had to put in felt even bigger than the work we normally do," he said. To conclude the panel, Rodomonti stated that Rai Cinema aims to lead innovation. "A public company should be the most important player, investing early in new technologies to create a new production model and to understand how to use technology easily," he said. In collaboration with La Sapienza, the most important public university in Rome, and the University of Amsterdam in Turin, Rai Cinema has launched a unique initiative to create short films with students, allowing them the freedom to explore any topic. "We created content that is available on Rai Play. We tried to create content in a new way. The idea is to develop a new model that producers can use to create something innovative and lead the direction," he explained.
EXISTING IPS VS. ORIGINAL CONTENT
The industry discussed a new dilemma at MIA: adapting existing IPs or creating original content. Creatives and executives from Nordic Drama Queens, Sony Pictures Television Studios, The Originals Productions, Miramax, and Palomar explored the advantages, challenges, and market dynamics driving these decisions. Morad Koufane, Director of International and Young Adult Fictions at France Télévisions, moderated the panel, offering insights into the landscape of IP adaptations in Europe. "The streamers offer more adaptations than broadcasters. 90% of their fiction is based on an IP, compared to only 13% of broadcasters," he explained. He also shared some statistics: the UK leads Europe in adaptations, with 26% of its fiction based on IP, followed by France at 18%.
Most adaptations come from books, with two-thirds of fiction adaptations based on works published in the 21st century. Nicola Serra, Co-CEO, Partner, and Producer of Palomar, noted that while Italy is not at the top-ranking regarding IP adaptations, his production company has taken a different approach. "The adaptation of IP represents most of our production, particularly from novels by great authors," he commented. Palomar adapted "The Count of Monte Cristo" with France Télévisions as a partner. "We didn't decide to adopt 'The Count of Monte Cristo' based on a specific idea but from our passion for the book. We assembled a group of talented people around this property and started from there," he explained.
Lauren Stein, Head of Creative at Sony Pictures Television Studios, stated that while Sony maintains a good mix of original and IP-based content, most of
its productions are based on an IP. "Some of our most successful shows, like 'Breaking Bad' and 'The Blacklist,' were original creations, whereas 'The Good Doctor' and 'The Boys' are based on IPs. So, we have a balanced mix, but I'd say the bulk of what's selling right now is IP-based," she shared, adding that IP offers a level of security for buyers. "Whether it's a book, an article, or a person's life, we're seeing far more IP selling than original ideas," she added, citing the example of the upcoming show "Long Bright River," an award-winning novel by Liz Moore. Marc Helwig, Head of Worldwide TV at Miramax, highlighted their experience adapting "The Gentleman" into a TV series. "'The Gentleman' is interesting because it's a recent film, not part of the older Miramax library. We made it fairly recently with Guy Ritchie, and we saw an opportunity for a creative continuation of that world in television," he noted. Emmanuelle Bouilhaguet, CEO at TOP – The Originals Productions, spoke about their well-known productions, "Le Bureau" and "La Maison." "We don't adapt IP; we're an independent studio in France with a writing process inspired by the US model. We focus on creating premium content to develop global IP. We provide an ecosystem for our showrunners to help them envision the next new IP. Retaining the IP allows us to manage the project from creation to brand strategy. 'Le Bureau' is a great example: we've sold it globally and recently sold remakes to Paramount Showtime, 101 Studios, and Smokehouse, George Clooney's company," she explained.
Bouilhaguet also discussed 'La Maison,' produced by two showrunners. "From the start, we aimed to create a brand. 'La Maison' is set in the haute fashion world, with four collections designed by real Parisian fashion houses. We created two fictional fashion houses, with all the authenticity we could muster to make it feel real," she noted. Josefin Tengblad, Co-Founder and Producer at Nordic Drama Queens emphasized how deeply the Nordic noir industry is tied to IP. "We're doing more IP adaptations than anywhere else. We have incredible crime novelists and often need to co-produce because we don't have the resources to do it alone. The streamers have changed things, but co-productions are how we built our industry," she explained, presenting "Cry Wolf," based on a novel by Hans Rosenfeldt. "We aim to innovate with each project because we're quite tired of Nordic Noir. This book is a straightforward thriller, but we approached it with a dark comedy tone," she concluded.
By Romina Rodriguez
"OUR NUMBER ONE PRIORITY RIGHT NOW IS THINKING ABOUT INTERNATIONAL"
JOHNNY HOLDEN, RECENTLY PROMOTED TO CHIEF STRATEGY OFFICER AT FILMRISE, DESCRIBES THE CHALLENGES OF HIS NEW ROLE AND REVEALS THE COMPANY'S MAIN STRATEGIES.
This year, FilmRise promoted CFO Johnny Holden to Chief Strategy Officer, overseeing all financial operations for the company. Holden spoke exclusively with Señal News about his new challenges and the costeffective strategies the company will implement to gain ground in the international arena.
What are your main objectives and challenges for your new role at Filmrise?
"Being elevated from CFO to Chief Strategy Officer brings unique challenges. Our number one priority right now is thinking about international. There are a lot of international content opportunities within our library. We have an expansive library with over 20,000 titles, translating to around 30,000 hours of content. We're looking at where we can actually exploit those rights and where we can expand. The second strategy is growing and fortifying our content library model, ensuring we acquire content for both the U.S. and international markets."
What features must a content have to be acquired by FilmRise?
"It's about looking at what has worked in the U.S., although what works there won't always work in a local market, so we're identifying content that will resonate in markets that may require more localized content. In addition, we have many options in dubbing now, and the impact of AI has been incredible in reducing those costs. We also want the content to connect with audiences. An essential consideration in dubbing is ensuring that the voice actor or dubbing technology preserves the story arc and audience experience. For instance, casting a suitable voice actor for a role, especially in a long-running series or deep catalog with multiple seasons, is crucial to maintaining continuity. That avoids any tonal or character shift that could disrupt the narrative and detract from the audience's immersion in the storyline. I'm thinking about costeffectiveness and leveraging our international consultants, working closely with the international members of our sales team to identify opportunities in Europe and Latin America."
How would you define this new era for the company?
"We face industry-wide challenges and plenty of competition, but FilmRise has been here for a long time. FilmRise CEO Danny Fisher recognized early on the opportunity in the AVOD and FAST space where others didn't, and we've grown from strength to strength. Going forward, we recently launched six new FAST Channels (The Sherlock Holmes Channel, Z Nation, Continuum, FilmRise Drama, Sheriffs: El Dorado County, and Iron Chef en Español), all available globally. We see the international market as a major opportunity, and we're prepared to approach it with precision."
What new content would you like to highlight for the global market?
"We have acquired exclusive U.S. digital distribution rights, including AVOD, FAST, and SVOD, for Electric Entertainment's hit CW series 'The Outpost,' which is a very high-quality title. FilmRise is well-known for its classic content, with titles from the 1970s to the 1990s, and we've recently acquired more premium content. This direction in the marketplace shows that we're not just a classic TV catalog. We're bringing high-quality content that supports both FAST channels and AVOD while also expanding our international rights, particularly in Spain, Italy, France, Latin America, and possibly Mexico and Brazil as well."
By Romina Rodriguez
"The Outpost"
THE REBRANDING SHOWS THE STUDIO’S COMMITMENT TO QUALITY AND INNOVATION AND HIGHLIGHTS THE UNIQUE CONNECTION WITH THE CITY WHERE TECHNOLOGY AND CREATIVITY MERGE.
Throughout the years, Wizart Animation Studio has become a symbol of high quality and creativity over the years, and its stand-out projects include world-famous franchises such as “The Snow Queen,” “Sheep and Wolves,” and “And the Tales of Wonder Keepers.” After 15 years of successful work, the studio announced a rebranding and changed its brand to Voronezh Animation Studio. This rebranding not only shows the studio’s commitment to quality and innovation but also highlights the unique connection with the city where technology and creativity merge, where bright ideas are born, and where the studio’s production base and creative team are located.
Voronezh Animation Studio continues creating universal stories with exciting plots close to audiences of different cultures and age groups. Using the latest 3D animation technologies, the studio aims to create high-quality content that will resonate, make deep sense, and evoke emotions. “Our projects have been released successfully in the Middle East. The five parts of the ‘Snow Queen’ franchise have had theatrical
WIZART ANIMATION REBRANDS AS VORONEZH ANIMATION STUDIO
distribution, and its characters have gained popularity in the countries of this region,” Vladimir Nikolaev, General Producer of Voronezh Animation Studio, told Señal News. “Our new projects tell exciting stories in the world of high-tech 3D animation with great special effects, at the core of which are stories about friendship, mutual help, family values, support, and understanding, which is important and valuable not only in the Middle East but around the world,” he added.
NEW LAUNCHES
Among the studio’s new projects is an animated film for a teenage audience, “The Steel Family.” Three children from an ordinary family are at the heart of the story: a fifteen-year-old robotics fan, a twelve-year-old blogger, and a seven-year-old girl who adores animals. Suddenly, they discover
that their father is not an engineer but a real secret agent. The whole family goes on a dangerous journey from Moscow to Siberia to a scientific base hidden in the taiga wilderness, where an energy of incredible power unknown to science has been discovered. Together, they will have to unravel the mystery of the extraordinary energy and protect it from a powerful corporation that wants to use its power for its profit.
The project was released on Kinopoisk, Russia’s largest online platform. After the release, the audience enthusiastically received it, the platform’s rating was 8.6, and the project entered the top 150 of all cinema content. The project is available as a TV series or a feature animated film for international distribution.
The studio is also working on creating a new animated film, “Arctic Heroes,” which tells the adventures of school kids rescuing a real living and intelligent baby mammoth found in the Arctic ice. The heroes help the Baby Mammoth escape from an obsessed scientist and set off together on an exciting journey to uncover the mystery of its origin. The project’s universe and plot provide unique opportunities for co-production with China. Both projects will be presented at the Dubai International Content Market, which brings together industry professionals from the global entertainment content industry.
By Romina Rodriguez
Vladimir Nikilaev
"The Steel Family"
Inter Medya's team with Burak Sağyaşar and Timur Savcı
Nadav Palti (DORI MEDIA), Darío Turovelzky (PARAMOUNT) Can Yaman, Kerem Çatay (Ay Yapım), Ateş İnce (MADD)
MIPCOM 2024 PHOTOGALLERY
David Henden, Paco Gratacós and Francesc Gratacós (LUK Internacional)
Melissa Pillow, Jessica Stescobich, Adrián Ortega, Dulce Avila, Pedro Lascurain (TV AZTECA)
Mert Uzcan, Ayse Ayar (O3 Medya), Selen Sevigen (Dass Yapım), Jully Kim (CJ ENM), Ceren Ergenekon, Hilal Ergenekon (HECE Medya), Handan Özkubat (Eccho Rights), Diane Min (CJ ENM)
Lukasz Jeziorski (PlumResearch) Yanai Arfi (SoFAST), Maria Rua Aguete (Omdia) and Sandrine Durand
(TIMS&B)
Ruth Berry, Tom Clark (ITV STUDIOS)
Calinos Entertaiment Team members, "Hidden Garden" Actors Murat Yıldırım, Ebru Sahin
Ricardo Costianovsky, Roberto Gómez Fernández, (Grupo Chespirito), Tomas Darcyl (TELEFILMS), Bruce Boren (THR# MEDIA) Fabiola Bovino, Leonardo Aranguibel
Alessandro Medeiros, Pablo Ghiglione (GLOBO)
Selahattin Tosun, Çağla Menderes, Sibel Levendoğlu, Canan Koca (KANAL D)
Global Agency's team after launching “Celebrity Dreams” format
RTVE team at "Ena" series presentation
Patricia Jasin (WBD)
"Hidden Garden" Director Recai Karagoz, Actors Murat Yildirim, Ebru Sahin, Producer Erol Avci, Calinos Entertainment CEO and Founder, Firat Gulgen
RTVE team at "Columbus DNA" presentation
Hazar Ergüçlü, Yılmaz Erdoğan, Murat Yancı, Selma Ergeç, Kubilay Aka (KANAL D)
Dulce Avila (TV AZTECA), Andrea Hugemann (DW)
Alex Avon and Zoé Crabtree (Amuz Distribution) Izzet Pinto & Ivan Sanchez (GLOBAL AGENCY)
(SoFAST)
Natalie Lawley (Escapade Media)
Pedro Garcia, Angela Colla, Alex Medeiros, Manuel Belmar (GLOBO)
Rosalind Rotundo (VIP 2000 TV) Inci Gulen Oarr (showrunner of “Kuma”) and Mikaela Perez (GoQuest Media)
Ylka Tapia and Pablo Lacroix (El Reino Infantil)
Guille Ayora and Toni Albert (Motion Pictures)
Jessica Stescobich, Melissa Pillow (TV AZTECA)
The Kitchen team
Nicolas Holst-Roy and Mia Desroches (KO Distribution)
Rochella SumayaoSalvador (GMA Networks)
Brendan Alexander and Melissa Bidgoli (Ottera)
Evan Buist (Melodie)
Dean Devlin (Electric Entertainment)
Ben Murphy (Monster Entertainment)
Chris Djuritschek and Aijaz Mohammed (Foo Entertainment)
Johnny Holden (FilmRise)
Natnicha Wittayamas and Pattarapron Yimyai (Workpoint)
Roberta Di Vito (ACTF)
Francesco Manfio and Krisztina Simon (Gruppo Alcuni)
Nele De Wilde and Philippe Glorieux (Peyo Company)
Zuly Baez, Patricia Hickey and Charlie Morton-Boyce (3DD Productions)
Shamoly Khera (One Take Madia)
Swastik Sekhar Patra, Manoj Mishra and Siddharth Vasudeva (Powerkids Entertainment)
Ziba Shahpouri (HA International)
Luke Field and Luke O'Neill (The Wiggles)
Wildbrain; Winsing Animation; Xiaohongshu Technology Co.,Ltd and Next Pixel Entertainment executives
Sana Mohammad and Beti Hekimoğlu (Fauna Entertainment)
Bruce Paisner (International Academy), H.E. Mohamed Al Mulla (Dubai Media)
Tom Malloy (Glass House Distribution)
Rosario Cosantino (PARAMOUNT), Luciano (PLAYMAKERS)
Dilaver Kıvrak, Muge Akar, Ali Turkarslan (ATV), Ugur Turkmen (Producer "The Nightfall")
Sibel Levendoğlu (KANAL D)
