TTV Nº 200 - Conecta Fiction & Natpe Budapest 2024

THE STRENGTH OF CAPTIVATING STORIES

Elif Tatoğlu, Director of Distribution Strategy at Kanal D International _10

A WINNING MINDSET

Fernando Muñiz, Director of Distribution and Strategic Alliances at TV Azteca _20

PLOTS THAT CAPTIVATE AUDIENCES WORLDWIDE

Ekin Koyuncu Karaman, Global Distribution & Partnership Director at OGM Universe _24

INTERVIEWS

A GOOD START TO THE YEAR

Duda Rodrigues, Sales Manager, LatAm at Calinos Entertainment _18

DRAMA, FICTION AND REAL CASES

Delmar Andrade, Director of International Sales at Record TV _38

SERIELLA PRODUCTIONS THE ‘KINGS’ OF BIBLICAL DRAMA _/14

CONDISTA INTERNATIONAL A KEY PARTNER FOR A SUCCESFFUL TRANSITION _/26

KADRAJ GROUP DRIVING THE INDUSTRY FORWARD _/27

TRISKELION PRODUCTIONS READY FOR ITS INTERNATIONAL GROWTH SPURT _/34

INTER MEDYA A TIME FOR MINI-SERIES _/42

THE KITCHEN UNDERSTANDING AUDIENCES _/69

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MIPCOM

2024

SPAIN NAMED MIPCOM 2024 COUNTRY OF HONOR

Events throughout the week, including highly anticipated screenings, producer panels focused on co-production opportunities, and a Spanish-themed opening party, among others, will celebrate Spain’s creative sector and promote international collaboration.

Mipcom Cannes announced that Spain will be the Country of Honor in the upcoming 40th edition of the International Co-Production and Entertainment Content Market, to be held on October 21-24 in Cannes, marked by a program that highlights the country’s growth in the recent years as a major international production centre and provider of quality content for global audiences.

This recognition comes at a time when Spain has seen a notable increase in both scripted and non-scripted productions in recent years, from both national and global producers.

A series of notable events in the main entertainment content market will celebrate Spain’s creative sector and promote international collaboration. Events throughout the week will include highly anticipated screenings, producer panels focused on co-production opportunities, and a Spanish-themed opening party, among others. More details of these and other activities will be provided soon.

The program is organized by Mipcom Cannes in collaboration with ICEX Spain Exportation and Investment. The activity of Country of Honor is part of the “Spain, Audiovisual Hub of Europe” plan, an important public investment initiative of 1.6 billion euros over five years, which aims to increase audiovisual production by 30% in the country by 2025, within the Recovery, Transformation and Re -

silience Plan financed by NextGenerationEU funds.

“The Country of Honor is a celebration of a country’s culture and creativity,” Lucy Smith, director of Mipcom Cannes, said at the event. “The historical impact of Spain on international television is irrefutable and its presence on the global stage in recent years is inescapable. It couldn’t be more timely for Spain to be in the spotlight this year and we have very special plans to carry it out.”

Pablo Conde, general director of Company Internationalization at ICEX, said: “Supporting the internationalization of Spanish audiovisual companies has a clear objective for us: to expand opportunities to produce and distribute their projects abroad. We do this by promoting their visibility, creating networking opportunities for our companies with international partners and facilitating co-production. Being the Country of Honor at Mipcom Cannes in 2024 will promote these three fundamental aspects. In addition, it will be the perfect opportunity to celebrate the excellence, creativity and professionalism of Spain’s content industry.”

The 40th edition of Mipcom will take place in Cannes from October 21 to 24, 2024 with MIPJunior, the annual meeting point for the children’s sector, which will return to its traditional pre-market slot from October 19 to 20 with a pre-opening afternoon on October 18.

ELIF TATOĞLU,

DIRECTOR OF DISTRIBUTION STRATEGY AT

KANAL D INTERNATIONAL

After a great first semester of 2024 thanks to the local success of ‘Secret of Pearls’, Kanal D

International has high hopes for the title’s international distribution, while also working with other powerful dramas like ‘A Father’s Promise’, ‘Three Sisters’ and the recently premiered ‘Yalan’.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

THE STRENGTH OF CAPTIVATING STORIES

“We are now entering the Asian market; we are about to close some deals, it’s a new market for us with new opportunities”

The last Thursday of May, ‘Secret of Pearls’ (‘İnci Taneleri’) closed its very successful first season, which captivated Turkish audiences and showcased all the talent of its cast, led by the multifaceted Yılmaz Erdoğan.

“The ratings are a key element in buyers’ decision-making mechanisms, but they also want to hear about the story,” points out Elif Tatoğlu, Kanal D International’s Director of Distribution Strategy. “The subject of the drama is very important to them.”

As writer, director and leading character of the title, Erdoğan put a lot of pressure on himself to make the most of this unique story, one that distinguishes itself by the pen of the poet -another of Erdoğan talents- and by a narrative that follows a man who is trying to put his life back together after being imprisoned for many years, wrongfully convicted of killing his wife.

The show, still going through its dubbing process, leads the catalogue of Kanal D International (KDI) at Natpe Budapest 2024, alongside its newest title, ‘Family Burdens’ (‘Yalan’), which premiered at the end of last month, and has another very good cast that includes names like Aslıhan Güner, Serra Pirinç, Feyyaz Duman, Eylül Tumbar, Yeşim Ceren Bozoğlu, Özge Borak, Emir Benderlioğlu, Atakan Hoşgören, Renan Bilek, Kubilay Tunçer and Zeynep Eronat.

At the same time, KDI is showcasing titles like ‘A Father’s Promise’ and ‘Three Sisters’, while their library also presents a great opportunity for local adaptations, like the current example of the upcoming ‘Circo de Feras’, SIC Portugal’s version of ‘Ruthless City’.

How much does ‘Secret of Pearls’ success in the ratings fuels the interest of potential buyers? Some of the buyers are inter-

KANAL D CELEBRATED A NEW PREMIERE FOR A FATHER’S PROMISE

Kanal D International announced in May the debut of ‘A Father’s Promise’ on Kosovo screens, captivating audiences with its gripping narrative set against the backdrop of a politically tumultuous era. Produced by PastelFilm, this drama stands out for its strong cast, including Salih Bademci, Hazal Subaşı, Ozan Dolunay, Perihan Savaş, and Özge

Özberk. ‘A Father’s Promise’ promises an unforgettable viewing experience for audiences across Kosovo. Set in the year 1980, ‘A Father’s Promise’ follows the story of Mustafa, a struggling factory worker, who faces dire financial circumstances in his quest to save his wife Canan’s life through a crucial

operation. Rejected by his heartless boss, Mustafa flees to avoid arrest, leaving his daughter Cemre in an orphanage, later adopted by the wealthy Rona family. Assisted by the caring housekeeper Figen, Mustafa infiltrates the Ronas’ household to be near his daughter, and an unexpected romance blossoms between them.

Daylight Daily drama

Three Sisters Drama

Secret of Pearls Drama

“What we are trying to do is to explore new revenue streams, such as AVOD platforms, SVOD platforms and even YouTube partnerships in some regions”

ested in current dramas and current shows, and the ratings are a key element in their decision making mechanisms, but they also want to hear about the stories. The subject of the drama is very important to them.

With such a deep library and the past examples of titles like ‘Alba’ an adaptation of ‘Fatmagul’, how are formats doing at the moment in Europe? In CEE formats are not really a hot topic at the moment, they are more interested in finished dramas, but in [Western] Europe, for example, we recently had a deal with SIC Portugal and they are adapting ‘Ruthless City’, originally titled ‘Zalim Istambul’. They are producing it now and I they will start airing at the end of June.

What about the rest of the world? We have been asked about formats from a lot of territories, specially from Europe and Asia. In the Middle East they prefer the finished version.

Focusing on finished versions, can you share an overview of KDI’s business at the moment in different key regions? The classical regions like Latin America and CIS, the Russian market, are very strong for us at the moment. We are now entering the Asian market; we are about to close some deals, its a new market for us with new opportunities. CEE is very strong because they have a lot of channels and is a great opportunity for us to show our dramas; they are buying the current ones and also library titles.

How have you been adapting to the new trends in the industry? What we are trying to do is to explore new revenue streams, other than free-to-air TV sales, such as AVOD platforms, SVOD platforms and even YouTube partnerships in some regions.

What regions present a distinct potential regarding YouTube partnerships? Africa is very creative and has a lot of potential because it has a lot of languages. YouTube is a good platform to explore those languages. Also, FAST channels are really important in the African market.

What role does Kanal D Drama play in all that? We have Kanal D Drama for Latam and we are also in discussion with FAST platforms to get our channels, or use some of our contents available in Kanal D Dramas, on the FAST side of those AVOD platforms. We are trying to see what is going to work and what isn’t. We are very much aware that in territories like the US, Pay TV is declining and we need to find a way for Kanal D Drama to keep operating.

“We recently had a deal with SIC Portugal and they are adapting ‘Ruthless City’. They are producing it now and I they will start airing it at the end of June”

Love and Hope Drama

Love and Hate Drama

Farewell Letter Drama

That Girl Drama

THE KINGS OF BIBLICAL DRAMA

By Carolina Mussio @carolinamussio cmussio@todotv.tv

The Brazilian production company has established itself as the largest producer of the biblical genre in Brazil and now owns the exclusive rights to a catalog of the most in-demand content in the field, led by the global hit ‘Kings’, which is being presented in the international markets along with the more recent bet, ‘The Queen of Persia’.

Established as a very popular genre among not only Brazilian but also international audiences, biblical dramas have become a guarantee of success for the region’s screens in recent years.

To respond to this growing demand for biblical products, the production company that’s an expert in the genre, Seriella Productions, acquired all the rights to its productions, ensuring exclusivity and independence in the creation of new biblical content.

“Currently, Seriella has expanded its operations to include more series, telenovelas and films, guaranteeing the quality that has made its biblical productions a global success, both with audiences and critics,” Edson Pfutzenreiter Mendes, International Sales Director at Seriella Productions, said to ttv.

“The Bible is one of the best-selling books in the world and its story is familiar to many people. This makes Bible telenovelas an excellent choice for those seeking edutainment, and makes them a unique and inexhaustible success around the world,” he explained.

Now directly responsible for clients, Seriella is consolidating itself as the main producer of biblical content in Brazil, an initiative with as many challenges as enormous potential: “Leading this new label as Director of International Sales of Seriella Productions is a great satisfaction and privilege,” the executive said.

“Being at the forefront of this expansion is beneficial for the industry, but also involves facing various challenges and responsibilities. Overall, it is an art of balancing strategic skills, cultural understanding and the ability to take advantage of global opportunities for the sustainable success of the label in the international market,” he added.

As its main weapon in this context, Seriella has an enviable catalog of world-renowned titles such as ‘Genesis’, ‘Jesus and the Ten Commandments’, and of course, ‘Kings’, the newest jewel in its crown.

‘Kings’ is a biblical series that tells the story of the kings of Israel, from Samuel, in the first season, to the entire life and reign of King David, at the end of the eighth season.

The telenovela is based on books from the Old Testament and was a great audience success in 2023. “The plot, which addresses the formation of the nation of Israel, achieved an

extraordinary audience, ranking as the second most viewed telenovela on the network and now, in 2024, the continuation of King Solomon will be released in the coming seasons,” the executive said.

The telenovela received much praise for its technical quality, the actors’ performances, and its fidelity to the biblical narrative. Furthermore, the plot was well received by the audience, who identified with the characters and the stories presented. “Without a doubt it represents a significant milestone for Seriella Produciones and for the industry in general,” highlighted Pfutzenreiter Mendes.

To further complement its catalog, the production company recently announced its latest title: ‘Queen of Persia’, which, in the words of Mendes, “has the potential to become one of the great television productions of 2024.”

“This will be one of the great new titles for this year. We can reveal that the story revolves around Esther, a young Jewish girl who rises to become queen of the Persian Empire. Although based on biblical stories, the telenovela incorporates elements of fiction to enrich the plot,” he explained.

Without revealing too many details in anticipation of its launch, planned for this month of June, the executive explained that “the plot is captivating and exciting, promising exceptional quality in the production, designed to captivate both Brazilian and international audiences.”

“We anticipate that the narrative will be exciting and suspenseful, with a strong and determined protagonist. The production also promises to meet high standards of quality, including outstanding performanc-

Edson Pfutzenreiter Mendes, International Sales Director at Seriella Productions

“Due to the great success and growing demand for biblical products, Seriella Productions acquired all rights to its productions”

es, captivating settings and excellent special effects,” he added.

Both ‘Kings’ and ‘Queen of Persia’ are some of the highlights of the catalog that Seriella Productions has been presenting this year in international markets, along with films, miniseries and new seasons, which “will undoubtedly capture the attention of the players in 2024,” Mendes said.

This is the first step in what will surely be a year of great success for the production company, which will seek in 2024 to “serve the industry with high-quality productions consolidated in the market, backed by the conviction and confidence in the success that the product will provide to the associated channels”.

“We envision content as a valuable and impactful offer, capable of attracting and retaining a significant audience, with a clear perception of how the product stands out in terms of quality, originality and appeal to the target audience,” he explained. “In addition, we seek to establish strategic alliances with channels that share the same values and vision, believing that this union will result in an exceptional television experience for viewers.”

“We do not see our content simply as something to be broadcast, but as a significant contribution to the channels’ programming, adding value to the existing offer. The objective is to achieve mutual success for Seriella and the exhibition platforms and channels,” he concluded.

“Without a doubt, ‘Kings’ represents a significant milestone for Seriella Productions and for the industry in general”

A GOOD START TO THE YEAR

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With the international success of ‘Farah’, and new agreements for titles such as ‘Forbidden Fruit’, ‘Woman’ and ‘Second Chance’, Calinos Entertainment has completed an excellent first half of the year.

2024 started in a very good way for Calinos Entertainment, whose catalog is headed by very successful titles both locally and internationally, such as ‘Farah’, ‘Forbidden Fruit’ and ‘Woman’, as well as series from Canada and Serbia.

‘Farah’ was the first Calinos content to be sold during 2024, being acquired by Mediaset España. This adaptation of the award-winning Argentine series ‘La chica que limpia’ is the story of an Iranian woman, who had to flee her country and fights to live in Istanbul, working as a cleaning lady to be able to maintain treatment for her son. But she accidentally finds herself in the middle of a war between the mafia and the police.

“The Turkish version is very well done with well-known protagonists in LatAm,” said Duda Rodrigues, Sales Manager, LatAm at Calinos Entertainment. “This version focuses more on the couple and romance: she cleans in the first episodes and falls in love with the gangster. There is where the love story begins and the drama of her son being sick,” the executive explained.

Starring globally acclaimed talents Demet Ozdemir and Engin Akyurek, ‘Farah’ has been sold to over 30 countries in 2023, including Azerbaijan, Albania, Lithuania, Romania and MENA, and premiered on Tring TV in Albania on January 3.

Along with ‘Farah’, Calinos is presenting another Turkish drama with a female protagonist that already has its first screen guaranteed in Ecuador: “It’s a shorter title, called ‘Ego’,” said the executive.

“It is a story about a very powerful woman in Turkey. She offers an employee three million dollars in exchange for sleeping with him for three nights and getting pregnant. It is a not very common story of a woman in the role of a villain who bribes a man. It is really very interesting,” explained Rodrigues.

At the beginning of the year, Calinos also added new territories for the successful ‘Forbidden Fruit’, such as Serbia, Georgia and Ukraine; and ‘Woman’, sold to Serbia, as

Adela Drama

well as for the titles ‘Second Chance’ (Serbia), ‘Cherry Season’ (Slovakia) and the re-run of ‘Feriha’, sold to Ukraine.

Outside of Turkish dramas, the distributor continues to offer the Canadian series ‘Indefensible’, awarded by the Canadian Academy of Film and Television as “Best Daily Series” at the 38th edition of the Gémeaux Awards. ‘Indefensible’ is an engaging, unifying and captivating daily legal series that transports viewers into the world of the Lapointe-Macdonald law firm and its criminal defense team.

In addition to another Canadian title, ‘Alert Squad’, the distributor also offers an important selection of Serbian content broadcast by TS Media, such as the series ‘No Tresspassing’ ‘Tycoon’, ‘The Clan’, ‘The Well’ and ‘The Only Way Out’.

GUARANTEE OF SUCCESS

With six seasons under its belt, ‘Forbidden Fruit’ said goodbye to Turkish screens as one of the most successful titles in recent years and with an important international run, to which it hopes to add even more territories. The number of seasons may be overwhelming, but it is only proof of its success and, as Calinos indicates, clients can simply bet on the first installments and then see the results for themselves.

Of course, they do so with the assurance that buyers always come back for more.

“In all the Latin American countries that bought the first season, they bought all of them, so it is a title that works

Duda Rodrigues, Sales Manager, LatAm at Calinos Entertainment

Another highlight is the Canadian series ‘Indefensible’, awarded by the Canadian Academy of Film and Television as “Best Daily Series” at the 38th edition of the Gémeaux Awards

and you can buy the seasons one by one, so the risk is not that great,” explained Rodrigues. ‘Forbidden Fruit’ is a Turkish drama about two sisters, Yildiz and Zeynep, who have a close relationship but have very different personalities and goals in life. Zeynep is a young woman who adheres strictly to her ethical values, aspires to have a successful career and strives to achieve it; while Yildiz believes that she deserves more from her and considers that her happiness is achieved by marrying a rich man, who will save her from her poor life.

Starring globally acclaimed talents Demet Ozdemir and Engin Akyurek, ‘Farah’ was sold to over 30 countries in 2023

Farah Drama

Ego Drama

A WINNING MINDSET

In a sea of content providers and programming offers, TV Azteca stands out through unique and high-quality productions, a flexible business model, and most of all the constant search for innovation and growth in an ever-evolving market.

By Carolina Mussio @carolinamussio cmussio@todotv.tv

Through a catalog of great productions, with brand new shows and returning seasons of its proven hits, TV Azteca continues to extend its footprint, not only in Mexico but internationally. The Mexican giant continues to grow in terms of content production and distribution, as well as its FAST channels and other business ventures, all working under one main goal: being disruptive, innovative and standing out in a saturated market.

In the following interview with ttv, Fernando Muñiz, Director of Distribution and Strategic Alliances at TV Azteca, talks about the Mexican group’s notable growth, both in linear TV and in the world of streaming, and unveils the new content they are preparing for the upcoming months.

In a constantly evolving industry, how has TV Azteca adapted in terms of business models and marketing strategies? We are open to all types of businesses. We are very flexible because we are very interested in co-producing, pre-selling productions, doing many things. Because we are a very dynamic company, we are constantly growing and innovating. The guide we follow, stated by the general content directors, is one from which we have to innovate and think of new ways to bring in income. We are very open to all types of alliances through which we can generate the most income for the company, and be able to generate fresh, high-quality new content.

What drives us to do it? What are the changes in the industry? There are so

“We are a very dynamic company, we are constantly growing and innovating”.

many possibilities now in the industry and so many ways to consume content and windows. So that’s what drives us. Obviously, the company’s main goal or core-business in terms of windows is for titles to air first on broadcast TV, and from there we exploit

Fernando Muñiz, Director

of Distribution and Strategic Alliances at TV Azteca

all the other available windows. But we are not closed to that either. It may also be that at some point we premiere something on a specific window and then it goes to broadcast TV.

One of the group’s big news for this year is a new season of ‘La Academia’. What can you tell us about it? ‘La Academia’ is a 100% proven reality show with success not only in Mexico but also internationally. It is a real phenomenon in Central America, as well as in some Latin American countries, where it also works very well. Not to mention the US, which is a natural market for ‘La Academia’. I am sure that this academy, with the new format that we are bringing, with shows during the week and additional ones with very strong surprises, is going to be a format that is going to work extremely well.

What other novelties are you preparing and presenting to the international market? Once again, they are products that have already been successfully tested in the market. The new seasons, for example of ‘La lotería del crimen’, come with much more impressive things, with stronger action scenes, more substantial content. ‘Dra. Lucia’ as well, those who enjoyed the first season realized that she was getting stronger and stronger to reach a climax with which we started the second season, which is very good. And ‘Lo que callamos las mujeres’ increasingly touches on more current topics for women and modern life. I think these formats are going to be very well received again, because they

tion has grown. Yesterday I was in a talk in which they mentioned that there are 2,400 FAST channels that exist on the market today. Well, we must be disruptive and differential. And it has worked well for us, because we are not looking to put filler content, or content that we have just stored in a library on these channels. Because what we are not looking to do is be the same as everyone else in this universe of 2,400 available channels. We seek to be disruptive. And that is what we are moving towards. It has worked very well for us to put very good quality content on these channels.

Definitely the position we have today in the Hispanic market outside of Mexico is very important. We are one of the most important providers of Spanish-speaking content in the world. Every time, with all this new content that we have, formats, reality shows

“We are one of the most important providers of Spanish-speaking content in the world”

are known and people are waiting for the new seasons.

When it comes to fiction, we are focused on these formats and the library that we normally carry. In addition to that, we have ‘La Academia’. And definitely for the streaming and OTT distribution side, we have the FAST channels, which are working very well, especially for territories like the US and other places outside of LatAm. We are very happy about that.

Speaking of FAST channels, this is an area that has worked very well for the group. What is your strategy based on for this rapidly growing sector? We have done very well in terms of FAST. As I have always said, we are pioneers in this market. Unlike other companies that take great care of their core-business, pay TV is not the core-business for us. Yes, we have a good pay TV business, however it is not the core business. That’s why we are much more aggressive on the FAST channels. We know that consump-

that we can distribute, the FAST channels, we are making sure to be a provider that is not only important but relevant. That is what we are aiming for and that is how they are seeing ourselves now.

We are a very practical, intelligent and innovative solution for all those whose budgets are currently limited. And if anyone wants to buy good content, at a good price, without window or territory limitations, they can always come to us.

Un día para vivir Drama Lo que callamos las mujeres Drama

Lotería del crimen Drama

Dra. Lucía Drama

PLOTS THAT CAPTIVATE AUDIENCES WORLDWIDE

By Luis Cabrera lcabrera@todotv.tv

@luis_cabreram

The success of ‘Lost in Love’ on Turkish TV is preparing to seduce viewers around the world, many of whom are already following the drama using social media. OGM Universe also seeks to surprise audiences with its new mini-series, ‘Dilemma’.

For fans of Turkish dramas, social media is an indispensable element, allowing them to get closer to the content they love even before it debuts in their country. This happens with the powerful ‘Lost in Love’ (‘Sakla Beni’), which OGM Universe is presenting in international markets after a brilliant first season - which culminated with episode 26 last May - which achieved spectacular ratings on the Star TV screen.

“At its core, ‘Lost in Love’s combination of compelling storytelling, well-constructed characters and universal themes cements its success locally and globally, earning it its place as a beloved series among viewers around the world,” explains Ekin Koyuncu Karaman, Global Distribution & Partnership Director at OGM Universe.

Along with the drama, OGM Universe will be presenting a new title: the eight-episode miniseries ‘Dilemma’, produced by OGM Pictures and broadcast on Amazon Prime.

‘Lost in Love’ is still going strong locally. What makes this series connect so well with the audience? ‘Lost in Love’ is known, both locally and globally, for its captivating plot and intricate characters. Rooted in the exploration of relationships, loyalty and family dynamics, the series resonates with

audiences on multiple levels. The exploration of deep emotional ties and past trauma is central to its appeal. The childhood promise between Mete and Naz, derived from a tragic event, drives their tumultuous relationship, fueling intense emotional conflicts and moral dilemmas.

Ekin Koyuncu Karaman,

Global Distribution & Partnership Director at OGM Universe

“‘Lost

in Love’ is known, both locally and globally, for its captivating plot and intricate characters”

Furthermore, ‘Lost in Love’ shines for its portrait of family rivalries, hidden secrets and personal struggles. The complex relationships between characters, fueled by deception and intrigue, add layers to the narrative and keep the audience interested.

Through social media, the series has also had an international impact. What do you attribute this to? On a global scale, the series engages viewers with its univer-

Lost in Love Drama

sal themes of love, betrayal and forgiveness, which transcend cultural barriers to offer a vision of human connection and understanding. The lead actors - Uraz Kaygalarolu, Cemre Baysel and Asude Kalebek - bring authenticity and depth to the characters, and director Nadim Güç weaves a fluid narrative that engages the audience with emotional intensity and suspense. At its core, ‘Lost in Love’s combination of compelling storytelling, well-constructed characters and universal themes cements its success locally and globally, earning its place as a beloved series among viewers around the world.

You’ve added several new OTT series to your catalog. One of them is ‘Dilemma’ (‘Düğüm’). Could you give us more details about this title? ‘Dilemma’ (‘Düğüm’) is an intriguing thriller that revolves around Neslihan Turhan, host of the television show ‘One Truth’. Her life takes a drastic turn when her son, Can, is implicated in Lal Kaleli’s death. As Neslihan grapples with the moral and emotional dilemmas arising from her son’s

involvement, the series delves into issues of justice, motherhood, and personal integrity. With a talented cast led by Bergüzar Korel, viewers can expect a gripping narrative that explores the complexities of human nature and the consequences of difficult decisions. Produced by OGM Pictures and broadcast on Amazon Prime, ‘Dilemma’ offers a captivating mix of drama and suspense over eight episodes of 45 minutes each.

OGM Pictures’ agreement with Star TV means growth in the number of hours and titles available in its catalog. Can you give us an idea of how many hours of new content we can expect from OGM in the near future? The recent partnership between OGM Pictures and Star TV signifies an exciting growth trajectory for our catalogue. With this collaboration, we anticipate a substantial increase in both the quantity and diversity of content available to viewers. In the near future we hope to add a significant number of hours of fresh, high-quality programming to our catalog, spanning various

“Produced by OGM Pictures and broadcasted on Amazon Prime, ‘Dilemma’ offers a captivating mix of drama and suspense over eight episodes”

genres. Stay tuned for more details on new content from OGM Pictures.

Can you give us any details about the upcoming titles in your catalogue? We look forward to the launch of several projects in our catalog. As the release dates get closer, we will provide more information on these exciting new titles. Stay tuned for news on these upcoming releases.

“The recent partnership between OGM Pictures and Star TV means an exciting growth trajectory for our catalogue”

Dilemma Mini-series

A KEY PARTNER FOR A SUCCESSFUL TRANSITION

Channel distribution -and the industry in general- is going through turbulent waters, an even bigger reason to partner with players like Condista to accomplish the desired goals.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Pablo Mancuso, Director of International Distribution at Condista

“Channels that have real value for the consumer will remain current in the traditional pay TV market and will also be able to exploit new ecosystems”

At a challenging time for pay TV, the strength of Condista International’s offering becomes even more valuable for content distributors who are looking for new partners with which to monetize their productions.

“Our focus is the distribution of high-quality channels, be them third-party or our own, so we are always looking or working to improve our channel portfolio,” explained Pablo Mancuso, the new director of International Distribution at Condista.

“We’ve currently put more energy into FAST initiatives. We give a comprehensive vision of what is required to achieve a successful FAST product: definition of technical partners, content strategy, distribution and agreements with large platforms. We cover the entire business.”

Although channel distribution is facing a difficult present, far from the explosion it experienced in past times, Mancuso is confident that it is a transition that, if done well, will lead to new successes.

“The future [of channel distribution] looks challenging, but also with great opportunities,” commented the executive. “On the one hand, we believe that the channels that have real value for the consumer will remain valid even in the traditional pay TV market and will also be able to exploit new ecosystems such as those based on advertising with AVOD or FAST platforms.”

Mancuso considers that these ecosystems are complementary to each other, capable of enhancing one another: “The growth trend in FAST is inevitable, but this growth will require quality content,” the executive stressed. “It will no longer be enough to simply make old or dormant catalogs available; for the business to start growing, the quality of content will need to be improved.”

Sobreviviré A3Cine

“The role of TV remains the same, although we constantly look for ways to reinvent it: we continue to be one of the most powerful forms of entertainment in the world,” Mancuso highlighted. “2024 and 2025 could be years in which the different ecosystems finish settling in: broadcast TV, pay TV, SVOD platforms and the new AVOD. In this rearrangement, we will know what the glass ceilings are and who will be the players that stand tall in the end. At Condista we are committed to achieving this transition successfully.”

Co-founder and general manager of Blue Media, Murat Yavan, emphasizes that success in the field is achievable under certain circumstances: “With a core belief that the right marketing strategy, networking, and matching content with the right buyers are significant, Blue Media has carved a niche for itself in the media industry.”

With their evolutionary approach to the changing world, Blue Media is keeping up with the rhythm. Being the part of this evolution, they want to enrich their repository and deliver it to worldwide audiences.

A RENEWED TEAM

Condista International renewed its team for 2024, adding, among others, Pablo Mancuso as director of International Distribution: “This year we plan to be aggressive with our presence at key events, so that many Condista products and services can be even better known by the industry”, explained the executive. “Condista is made up of executives with extensive experience in different key areas of the industry, which allows us to develop businesses with high effectiveness. We have commercial leaders for distribution in the US and Latam; our Condista ADs unit to monetize content with advertising models; and Condista LABS to process that content and distribute it in the most efficient way,” he explained. “We maintain our primary focus, as distributors of high-quality content, leaders and pioneers in the US Hispanic market and a strong player in Latin America, and within the new initiatives we are looking for content owners who want to start monetizing their content in models AVOD,” he explained.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

A deep understanding of regional market dynamics allows Kadraj Group to deliver highquality, culturally nuanced media services that resonate with diverse audiences.

DRIVING THE INDUSTRY FORWARD

Hasan Köroğlu, Founder and CEO, Kadraj Group

“Kadraj’s longstanding presence in the CEE region is a testament to our commitment to quality, innovation, and customer satisfaction”

As the leading company on QC, localization and delivery services in Turkey, Kadraj Group has been growing its reach all over the world, investing in new technology and expanding its services offerings to new regions.

In that sense, Natpe Budapest 2024 allows the company led by Hasan Köroğlu, its founder and CEO, to go back to its roots, meeting with costumers from territories in which Kadraj has already emerged as a premium partner.

“Kadraj has established a robust presence in the Central and Eastern Europe (CEE) region over the years, becoming a trusted partner for media companies in various sectors including dubbing, localization, technical services, file transfer, and file conversion,” details Köroğlu. “Our deep understanding of the regional market dynamics, coupled with our extensive network of local experts, has enabled us to deliver high-quality, culturally nuanced media services that resonate with diverse audiences. Kadraj’s longstanding presence in the CEE region is a testament to our commitment to quality, innovation, and customer satisfaction.”

“Our current goals reflect our ambition to not only maintain our leadership position, but also drive the media industry forward through strategic initiatives and cutting-edge solutions,” he shared. “We look forward to continuing our journey in the CEE region, helping our clients achieve success and bringing exceptional content to audiences.”

Kadraj knows the needs of regions like CEE and MENA, which approach the company looking for “high-quality, culturally relevant media services that can meet their diverse linguistic and technical needs.”

To meet the ever-growing demand of those and others regions around the world. Kadrak keeps investing in evolving all its areas, including Artificial Intelligence, and cloud storage, among others: “Kadraj’s growth can be further driven by expanding into virtual pro -

duction, interactive and immersive media, content security, data analytics, and transmedia storytelling,” says its CEO. “These areas represent significant opportunities for innovation and value creation, allowing Kadraj to meet the evolving needs of clients and stay at the forefront of the media industry.”

“By focusing on innovation and client satisfaction, Kadraj ensures that we deliver exceptional value and support our clients achieve their goals,” Köroğlu explains.

SPAIN IN SIGHT. As an important European market and a bridge to the Latin American region, Spain has always played a key role in the industry landscape. With that in mind, it comes as no surprise that Kadraj is working on expanding its presence in the Ibero-American country.

“Focusing on Spain represents a strategic move for Kadraj to expand its presence in a key European market,” explains Köroğlu. “By tailoring our services to meet local demands, investing in technology, and fostering strong partnerships, Kadraj aims to become a leading provider of unique media services in [the territory]”.

“Our commitment to quality, innovation, and sustainability will drive our success and ensure that we deliver exceptional value to our clients and the wider Spanish media industry,” he adds. “We also want to begin carrying out our projects in Greece and Germany after setting up, fine tuning and quickening our pace in Spain”.

Sleep of Crow Film

DISTRIBUTION ECCHO RIGHTS TAKES GRANITE HARBOUR, CO-PRODUCED WITH DOPAMINE, TO NEW TERRITORIES

THE INTERNATIONAL DISTRIBUTOR has closed a number of deals for fish-out-ofwater crime drama ‘Granite Harbour’ which recently aired its second season on BBC Scotland, BBC One and iPlayer. BBC Studios have licensed the series for BBC First in Netherlands, Belgium and Poland, while TV2 Denmark and TV2 Hungary have both picked up the Aberdeen-set crime caper. BritBox International in the US and Canada, and Acorn TV in Australia and New Zealand, have previously acquired the series with their deals extending to both seasons. ‘Granite Harbour’ is produced by LA Productions, in association with Dopamine and Eccho Rights, a part of Night Train Media Group.

MERGER MEDIAWAN ACQUIRES LEONINE STUDIOS

THE COMPANIES announced the signing of a definitive agreement under which Mediawan will acquire the entirety of Leonine Studios, fostering even closer collaboration between the companies and establishing Mediawan as a premier studio with a global presence in 13 countries, 85 labels, a catalog of approximately 30,000 hours of premium content and revenues that will exceed one billion euros. Mediawan and Leonine first partnered in 2020, when Mediawan acquired a 25% stake in Leonine, which has resulted in successful cooperation between the two companies since then.

EXECUTIVES

José María Caro, Director of Local Original Production at Max Spain

JOSÉ MARÍA CARO JOINS MAX AS FICTION DIRECTOR FOR SPAIN

WARNER BROS DISCOVERY announced the appointment of José María Caro as Director of Local Original Production at Max for fiction projects in Spain. With more than 25 years of experience in the audiovisual sector, José María is an executive and creator with extensive experience in the creation, production, distribution and management of content. He began his career at Sogecable’s purchasing headquarters and worked at several production companies before starting as director and executive producer. After spending several years in the Middle East and Asia Pacific, where he collaborated with companies such as Mediapro ME, MBC (Middle East Broadcasting Center) & Originals Media Group, he joined Buendía Estudios where he served as Executive Producer of series such as ‘La Templanza’ (Prime Video), ‘La Cocinera de Castamar’ and ‘Señor Dame Paciencia’ (Atresmedia) and also directed ‘Los Protegidos, El Regreso’ (Atresmedia). Later he was Head of original Spanish series at Amazon Studios, participating in projects such as ‘Los Farad’, ‘Reina Roja’, ‘Sin Huellas’ and ‘Romancero’ among others.

THE COMPANIES are returning with Hypewriter, their international TV series concept competition and pitch forum in Central and Eastern Europe. In its sixth year, the competition, launched this time with revised entry criteria, is once again looking for brand new scripted TV series ideas. The winner will receive €10,000 in prize money and will a chance to develop a script and a get a pilot episode produced to be broadcast by RTL Hungary. This year, the organisers

have introduced a number of new features in the application process: the scripted series concepts should reflect current trends in commercial television in Central and Eastern Europe, the stories should be set in the present day and belong to a television genre – such as crime, drama, comedy, dramedy – that is likely to appeal to wider audiences, and the packages submitted by the applicants shall also include character descriptions. The application deadline for the Hypewriter 2024 is 30 July.

STREAMING VIDEO REVENUES IN MENA TO SURPASS US$1.2BN IN 2024

Led by Shahid and StarzPlay, the video streaming market in the Middle East and North Africa region experienced a robust growth (13%) during 2023, with strategic partnerships and bundle offerings being key to this success.

The Over-The-Top (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 US$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 US$1 billion. Strategic partnerships and bundle offerings have been key to this success, enhancing accessibility and content diversity. Omdia forecasts continued positive results, with revenues expected to reach US$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.

“Year-round content production has mitigated seasonal subscription fluctuations in the MENA region, leading to higher subscription rates and reduced churn after Ramadan”

Maria Rua Aguete, Senior Research Director at Omdia, speaking at Cabsat 2024

OTT SERVICES MARKET SPLIT, MENA, Q4 2023

“MENA is a growth area with huge potential. The top three players -Shahid, StarzPlay, and Netflix- each have unique strategies and complementary offerings” - Maria Rua Aguete, Senior Research Director at Omdia

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 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 their AVOD launch, a soft launch in November 2023 followed by a full launch in February 2024; exclusive content, highly anticipated series like “The Walking Dead: Dead City” having

premiered in March 2024; and 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).

Speaking at Cabsat 2024, Dubai, Maria Rua Aguete, Senior Research Director at Omdia, remarked: “MENA is a growth area with huge potential. The top three players -Shahid, StarzPlay, and Netflix- each have unique strategies and complementary offerings. In the advertising space, FAST (Free Ad-Supported Streaming TV) is currently limited in this region, but we anticipate significant growth over the next four years,

with global players like Samsung entering the market.”

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 US$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 wider array of localized content to cater to the evolving preferences of Middle Eastern audiences.

®2024 Omdia

LA SCREENINGS INDEPENDENTS 2024

LASI 2024 closed a peculiar edition, with a slower pace than usual, burdened by the current state of the industry, but in which companies, even if somehow cautiously, were able to still showcase the premium content that the audience demands.

1. Goryana Vasileva, Cristina Duffy and Duda Rodrigues (Calinos). / 2. Sarah Jin and Rachel Kim (MBC America). / 3. Rebeca Aguilar (Movistar Plus+).

/ 4. Müge Akar (ATV). / 5. Sibel Levendoglu and Elif Tatoglu (KDI).

/ 6. Edson Pfutzenreiter (Seriella).

/ 7. Carolina Lozano Duque and Meg Kearns (Fifth Season). / 8. Carlos Garde (Onza Distribution).

/ 9. Özlem Özsümbül (Madd). / 10. Lily Páez and Dina Behar (The Kitchen).

11. Beatriz Cea Okan and Sinem Aliskan (Inter Medya). / 12. Ivan Sánchez (Global Agency). / 13. Delmar Andrade (Record). / 14. TRT Sales team. / 15. Barbora Suster and Violeta Trincado (Eccho Rights). / 16. Liliam Hernández (Universal Cinergia) and Miguel García (Atresmedia). / 17. Elif Turna (Mediahub). / 18. TV Azteca International team. / 19. Isadora Filpi (Globo).

READY FOR ITS INTERNATIONAL GROWTH SPURT

Triskelion Productions’ catalog -led by titles like ‘Clone Tech’lands at Natpe Budapest 2024 full of creative content and with a vision to find their own place in the European market.

By Rosa Fuentes rfuentes@todotv.tv

Alessandra Corrao, Co-founder of Triskelion Productions

Ric Acevedo, Executive producer of Triskelion Productions

“‘Clone Tech’ is a project with a lot of potential, especially on the licensing side. It’s a series that combines aspects of shows like ‘Voltron’ with concepts from ‘Umbrella Academy’ and ‘The Imperfects’”

Acreative team with powerful and innovative content ideas is the driving power behind Triskelion Productions in its bid to gain ground in markets outside the United States. With this goal in mind, Triskelion Productions is arriving at Natpe Budapest 2024 with plenty to show and great stories to tell, headed by titles such as ‘Clone Tech,’ an animation that weaves scientific themes with a bit of mystery, for which they have high expectations due to the great potential that this title has for licensing.

“It’s a project with a lot of potential, especially on the licensing side. It’s a series that combines aspects of shows like ‘Voltron ’ with concepts from ‘Umbrella Academy’ and ‘The Imperfects,’ among others,” said Ric Acevedo, executive producer of Triskelion Productions, who is very optimistic about the outcome of this production and its possibilities for licensing in different markets.

‘Clone Tech’ is an animated series created by James Spadafore and Mary Jo Hanold. According to the company’s executive producer, this series’ unique feature is that it

strongly messages the value of friendships, always with a scientific theme as the action background.

In addition to ‘Clone Tech’, the Triskelion Productions team is landing in Budapest determined to promote its fiction and docuseries, which have already had a successful run. They are also eager to build new partnerships in the market and make room for the growth they have been working on for some time.

This hard work has led to new titles being added to its catalog, with the company currently in pre-production on a couple of projects. “’Rise of Kaiju,’ which we hope to be able to present, finance, and finish by mid2025, including all the posts. ‘Motor Valley,’ which is being developed more or less in tandem, but will be finished a little later, like late 2025 or early 2026,” Acevedo said.

Another upcoming catalog addition will be ‘Shakespeare High,’ a brand with which they have very good projections. “The ‘Shakespeare High ’ project is in a good place. We have a strong script and pitch deck. The expectation is to get it to streaming and introduce it to the public,” said Acevedo.

The company has a solid track-record of producing innovative titles, like ‘History of Fabulous’, a unique project created by Alessandra Corrao, one of the three founders of Triskelion Productions. “Alessandra is a great source of ideas and we have a great team all-rpund,” shared Acevedo. “In the middle of the lockdown she presented the concept to me, I had never thought of it. Alessandra took charge of creating a unique look. Her ability for visual aesthetics sets her apart. We produced it in Los Angeles and now is in the hands of a good distributor and we have great expectations.”

PRODUCTION GATO GRANDE ANNOUNCES ITS FIRST ENGLISH-LANGUAGE SERIES, CLIMAX

GATO GRANDE, an Amazon MGM Studios company, has completed development of its first English-language comedy series titled ‘Climax,’ about a former party girl who discovers that she has the ability to see how and when her sexual partners will die. Now that she can glimpse the future, what responsibility does she have to change it? Is this her chance to make a difference… or a curse for all future relationships? The series is written and produced by Mexican-American comedy writer, Elena Crevello (‘Grace and Frankie’, ‘American Auto’, ‘Vida’); with executive co-production by Sergio Sancho (‘Itxaso y el mar’, ‘Una vida una cena’). ‘Climax’ was developed for American audiences by Gato Grande and is based on a concept originally developed by Sancho in Spain.

PRODUCTION FILMING BEGINS ON WEISS & MORALES, CO-PRODUCTION BETWEEN GERMANY AND SPAIN

ZDF STUDIOS announced the start of filming of the new procedural series ‘Weiss & Morales’, a production that has its roots in the most classic elements of the genre and reformulates them to adapt them to the current standards of high-end television fiction. The series will be filmed in various locations in the Canary Islands, with Gran Canaria as the main setting. It is a co-production by TVE, ZDF, Portocabo, Nadcon and ZDF Studios. Wolfgang Feindt is commissioning editor at ZDF and Mar Díaz is executive producer at RTVE. ZDF Studios will handle global sales outside of Spanish-speaking territories. The series revolves around two investigators, Civil Guard sergeant Raúl Morales (Miguel Ángel Silvestre) and German BKA agent Nina Weiss (Katia Fellin). When a crime is committed in the Canary Islands that affects the German community, both are forced to work together. A collaboration that neither of them enjoys, however, in the end they will find a way to solve the case in each episode despite their very different characters and investigation methods.

PREMIERES NOVA PREMIERES THE TURKISH DRAMA NEHIR, FROM MADD ENTERTAINMENT

ATRESMEDIA launched a new Turkish bet: ‘Nahir’, the successful drama from Madd Entertainment, came to the Nova screen under the local title ‘La presa’. The series has already been an international success, succeeding in territories from Europe to Latin America and Arab countries since it was released in 2020. It tells the exciting story of Nazim (Feyyaz Duman), a middle-aged man who falls in love with Nehir (Biran Damla Yilmaz), a young woman whom he met online. When Nehir asks for a photo to see what she looks like, Nazim, self-conscious about a large scar on his face, sends her the image of Tarik (Burak Yörük), an attractive young man who works with him in the construction of the dam. Nazim will quickly realize the mistake he has made by lying about who he is, so he will have to ask his employee for help to keep up the lie.

AUDIOVISUAL PRODUCTION AND DISTRIBUTION COMPANY, VIP 2000 TV, announced that they have signed an alliance with ZEE Content Sales for the first coproduction of a telenovela between ZEE Entertainment and Latin America. The daily series called ‘Valentina, mi amor especial’, is a brand new IP, set in the picturesque city of Guadalajara, Mexico. Production will begin in July of this year. The story is inspired by the acclaimed Indian telenovela Aapki Antara, a series produced in 2009 with great success in India for its moving representation of social problems, especially autism. It will feature a cast of talented Hispanic actors, high production values, and a compelling story that resonates with audiences of all ages and backgrounds.

FICTION DRAMAS AND REAL CASES

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

The renewed offer of the Record TV distribution area, now without the biblical content that remains under the umbrella of sister company Seriella, is an exciting new stage for the company, which has decided to focus on its successful telenovelas, as well as the push given to the factual content area.

Few genres reach international markets with a better track record than Brazilian telenovelas and Record’s products are no exception. Titles like ‘Topíssima’ and ‘The Slave Isaura’, plus the recent ‘Amor sin igual’, are showing their worth around the world.

“Our two current telenovelas have been exceeding expectations where they’ve been on air,” said Delmar Andrade, Director of International Sales at Record TV. “Recently, ‘Topíssima’ was broadcast in Portugal, where it has always been among the

Delmar Andrade, Director of International Sales at Record TV

“Our

two current telenovelas have been exceeding expectations where they’ve been on air”

most watched programs in the afternoon. The telenovela also competed in the 2019 edition of the Rose D’Or Awards, in the Best Telenovela in the World category, which demonstrates the quality of its production”.

‘Amor sin igual’, meanwhile, is a classic telenovela full of twists and turns that tells the story of Angélica/La Poderosa, a prostitute who falls in love with a simple peasant, Miguel, after a mysterious car accident. “The damage of social networks and the struggle of young athletes in search of fame are topics that are discussed in the plots of this un-

A powerful drama offering, together with a renewed and growing catalog of documentaries, places Record in an excellent new stage as a distributor, now focused on secular content.

missable telenovela,” commented Andrade. One of the most recognized dramas in Record’s catalog, “The Slave Isaura,” is “a true milestone in Brazilian television,” Andrade noted: “It addresses important themes such as love, freedom and justice in a unique and attractive way, issues that are still on the rise at the time we live in.” This year Record celebrates 20 years since the launch of a telenovela that still captivates millions of viewers around the world.

The distributor is also presenting the prequel, ‘The Slave Mother’, a 2016-2017 telenovela, starring Gabriela Moreyra and Pedro Carvalho.

FACTUAL CONTENT. “For [this market] we will continue to present our catalog of telenovelas and we will also present our new documentary series: ‘DOC Investigación’, which brings the best of the real crime genre to the public,” Andrade shared. “There are 12 episodes that combine the modern language of streaming platforms with Record’s already renowned investigative journalism.”

‘DOC Investigación’ exposes shocking police cases that occurred in Brazil, with crimes such as organ trafficking, serial homicides and unfair convictions.

The documentary genre is one that Record is strongly committed to, given its excellent track record in journalism: “After many forms of applied journalism over the last seventy years, Record has reached the level of quality demanded by the international market and has been gaining ground with its documentaries for some time,” Andrade explained. “In recent years, our productions have been among the finalists for One World Media, an award that recognizes the best media coverage of the developing world, reflecting the social, political and cultural lives of people around the world.”

“Our documentary portfolio has hours and hours of high-quality content, covering the most diverse topics”

All this, in addition to Record’s three wins in one of the most prestigious awards in world journalism -and the largest in the Spanish and Portuguese language-, the Rey de España award.

“With these nominations and awards we decided to explore this content further and present it as a new option for the international market that seeks quality and exclusive content, which Record has been developing very seriously,” added the executive. “Today, our documentary portfolio has hours and hours of high-quality content, covering the most diverse topics.”

This track record drives the company to go for more: “We will continue working actively to promote our documentaries at all the events where we will be present,” Andrade stressed. “Many projects are being produced by the Record journalism team and surely for the next semester we will have great news in terms of documentary titles.”

DOC INVESTIGACIÓN

SUCCESSFULLY DEBUTS IN BRAZIL

Brazilian television network Record experienced an audience increase of more than 150% during the premiere of the crime investigation series ‘Doc Investigación’ on February 19. The towns of Recife and Rio de Janeiro registered the best audience numbers during the premiere, while in the capital of São Paulo the increase was 61%. The show hosted by Thais Furlan brings new information and exclusive testimonies every week about major crime cases known throughout Brazil. The first episode dealt with the death of the child Bernardo Boldrini and showed an exclusive interview with Graciele Ugulini, the child’s stepmother, who is serving a prison sentence for the murder of her stepson.

“For [this market] we will present

our new documentary series:

‘DOC Investigación’, which brings the best of the real crime genre to the public”

Topíssima Telenovela

Ultimate Love Telenovela

La esclava Isaura Telenovela de época

Por Luis Cabrera / lcabrera@todotv.tv @luis_cabreram

As one of the most important producers of Spanish cinema, responsible for films such as ‘La niña de tus ojos’, ‘El mejor verano de mi vida’ and ‘Hasta que la boda nos separe’, Eduardo Campoy’s vision is one that combines both experience and expertise in the sector with a distinctive passion for both the art and the industry behind it.

With nearly 100 feature films -and another number of shorts and series-, the producer, born in Valencia (1955) and currently Films Content Director at Secuoya Group, has been a key figure in the path taken by Spanish cinema for more than four decades, with

Eduardo Campoy, Producer

“EVERY

PRODUCER MUST DEDICATE YEARS TO WORKING FOR THE COLLECTIVE”

The Spanish producer, responsible for almost 100 feature films, including multiple Goya award winners, shared his thoughts on the responsability producers -and other members of the sectorhave towards the audiovisual industry, as well as the present and future of Spanish and Latin American cinema.

an active participation with his films -he has 92 Goya Award nominations- as well as his work in different associations, from where he has sought to give back as much as he could of what the audiovisual sector has given him.

Aligned with all this, in December of 2023, Egeda celebrated his accomplishments by granting him the Gold Medal of the Forqué Awards. “The association wanted to recognize not only the figure of Eduardo Campoy, his filmography as a producer and his passion for cinema and audiovisuals as a whole, but also the intense fight carried out for many years in favor of audiovisual producers

and the development of our audiovisual,” explained Enrique Cerezo, president of Egeda, the entity that protects the rights of Spanish audiovisual producers. “The figure of the producer enjoys great prestige today thanks to Eduardo Campoy.”

What is your opinion on Cerezo’s words about what this award means? How do you value this other role, besides producer, as a member of Egeda and other associations? All members of the audiovisual sector, not just producers, should dedicate a few years of their lives to working for the collective. Be them actors, scriptwriters, directors or producers. I have dedicated a lot of

time, as Enrique (Cerezo) said, to working for the collective. It gives you a different vision than when you only look for the interests of your own production company, which is the most legitimate. When you take the leap to represent the rest of the group, you begin to look for the common good and, in the long run, you realize that all the benefits common to your sector will revert to your personal benefit. But you have to be generous enough to give back, in the form of work, what this profession has given you. You have to dedicate five, seven or twelve years, which in a 40-year career is not much time, to work for the group that represents you. In those positions you immediately understand that the collective good is going to help you in the long run.

Enrique has seen, throughout our history, given that we have coincided during these 40 years, that I have dedicated a lot of time to that collective good. I have been a member of the Board of Directors of the academy, of Anepa, of Aecine, advisor of ICEX… I have dedicated a lot of time to working for the good of the sector. That is why many people who do not dedicate a day to working for the collective good are now greatly missed.

Does Egeda have to promote that function? Egeda is a bit like producers’ conscience. They are all here: the small producer who has made a short film, the majors and the TV networks. All those who have audiovisual rights are incorporated into Egeda and this is what makes it a global vision. I believe that producers have to work through associations. Unfortunately, once Fapae disappeared, they divided into associations that have lost political strength, but their members must continue trying to achieve the same objectives as when there was a strong Fapae.

You’ve done close to 100 feature films. Do you sit back and contemplate this accomplishment from time to time or are you always moving forward? Honestly, I hadn’t counted how many feature films I had made until I got the award. I had to look back to see when the first one was and seeing what production companies I have worked with. I am quite visceral in looking only towards the future, what I have left to finish this year or what I am going to do next year. I looked back when they told me that I had been producing for more than 40 years and my feeling is that it has been much longer. Before making ‘Copia Cero’ in 1982, I had already been working as a film technician for ten years; I had made films as an assistant direc-

tor, had worked with directors like Mariano Ozores, Javier Aguirre and Eugenio Martín, on their own films, when I finally took the plunge to produce my first film. I made that decision, within what was Cinema de Callejón, to produce short films for third parties: I produced about eighty or so short films, of which I had directed 16. There are many. The motivation to produce was already inside me. Once I hit the ground running with ‘Copia cero’ to produce a feature film, the doors opened to start producing films.

Is there something romantic about everything that went into producing at that time? The thing is that I continue to do exactly the same as when I produced the first films: I continue to be at the director’s side, in the preparation, in the filming, in the selection of the technicians, the actors, in the final cut, in the post-production. I am the shadow of the director throughout the entire process. I don’t get involved in their work, but the same thing happened to me in those first films with Agustín Díaz Yanes until the last ones with Dani de la Orden. Another thing is how movies are made, that has changed a lot. And that has changed the way of working. The way of financing is practically the same, with other players in the market, but the way of filming has changed a lot.

Has what motivates you to take on a project changed over the years? It remains practically the same. I can give you two examples. ‘La niña de tus ojos’ was born from me buying an idea from two guys who today are two well-known screenwriters. From there we started looking for a director: Fernando Trueba was not the first one we offered it to, he was the third. Today when I look for an idea, the exact same thing happens to me. When I did ‘El mejor verano de mi vida’, it was the Antena 3 delegate, Silvio González, who told me about the Italian film ‘Sole a catinelle’, and when I saw it it seemed like nonsense to me. We bought the rights, we looked for a director, we chose Dani de la Orden, and we looked for scriptwriters, we worked on it, it came to fruition and it was a box office success. The processes are similar, they do not change from one era to another. Neither do the motivations: trying to find a film that works industrially.

You have spoken about post-pandemic life for Spanish audiovisual. You said that the public has “become accustomed to watching Spanish cinema at home.” Can you elaborate on this? I think the pandemic has brought us one good thing and one bad

thing. The good thing is that the street public finally understood that, in order to watch the TV they like, they had to pay for it. Today I doubt that there is any home in Spain that does not pay for some platform to watch television. This has meant that the platforms have grown exponentially, but it has been lost that the people who watch those series, with the same actors and directors, go to the movies to see those stories. It has weakened the middle class of Spanish cinema. People have decided to go out to see it in theaters, with what it entails in expenses, when it is an event. Family cinema continues to work because children have to be taken out of the house. Spanish cinema is the main one affected by the numbers we are having.

Do you think this will be the new normal from now on or is it a phase? There may be an evolution. I think that series, with so many platforms, can end up saturating. Now we are in the boom, but if it does not go down it will be a long-term boom, but if it goes down, maybe it will be a bubble and things will return to their normal course. We have to wait and let time give the operating guidelines.

Why does Spain have such an important difference in terms of aids (incentives), compared to other European countries? The current aid system was created so that there would be double the budget allocation, but with the current allocation the system is unsustainable, it does not work anywhere. You have to change it. I think that most of us producers totally agree that it must be changed and that without the appropriate budget allocation this system is a failure. This has led to films being made much more tailored, without sufficient promotion so that the public can go see them. It is the fish that bites its tail: the public does not go and the distributors invest less. That is bad for Spanish and Latin American cinema and for our windows. I have always blamed the legislators, who must legislate for the majority, must seek the majority interest and the common interest. That’s where we should focus, on that gap.

What is your vision of the rise of international co-productions? It is a sustainable, positive model that now includes series. It is a path that unites Latin America and Spain much more. Unfortunately co-productions in cinema, like Latin American cinema, is not working in Spain because Spanish does not work either. We have an exhibition problem. It works on platforms, but not in theaters.

“When you take the leap to represent the rest of the group, you begin to look for the common good and, in the long run, you realize that all the benefits shared by your sector will revert to your personal benefit”

Dramas Inter Medya

A TIME FOR MINI-SERIES

Galvanized by a legacy of successes with their traditional dramas and a catalog that keeps adding new premium titles, Inter Medya is setting itself apart as a distributor -and sometimes producer- of top quality Turkish mini-series.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With new mini-series and premium dramas in its catalog, Inter Medya takes on Natpe Budapest 2024 delighted by the opportunity to meet face to face with current and potential buyers, including those from the CEE region, one that a company with Inter Medya’s trajectory is quite familiar with.

“The CEE region has always been vital for our titles and has significantly evolved in recent years,” shares Sinem Aliskan, Senior Sales and Communication Manager of Inter Medya. “Audiences in the CEE region are becoming more selective, seeking unique and compelling stories that reflect their cultural and social realities. Turkish series, in particular, have attracted significant interest, highlighting the region’s appreciation for our storytelling and production values.”

The long-standing relationships that Inter Medya has built in the region, all on the shoulders of quality and successful shows, grants the distributor the freedom to “offer a variety of content.”

“With the increasing popularity of streaming platforms, there’s a growing demand for our diverse range of high-quality mini-series,” points out Aliskan. “We’ve noticed a trend toward shorter, highly engaging series, which aligns perfectly with our extensive lineup of mini-series. There’s also increasing interest in local adaptations and co-productions.”

Both of these areas have been growing in importance in Inter Medya’s business strategy, with a recent agreement with Gain boosting their mini-series offering, and co-produc-

tions being an area of expertise already, after all the work accomplished internationally in Latin America and US Hispanic.

“We are working intensively to implement the co-production model, which we pioneered in the US Hispanic and Latin America, in the CEE region as well. We believe that by creating the right formula also here, we will soon create our first co-production proj-

ect with partners from the CEE region,” says Aliskan.

LOOKING EAST. When it comes to newer regions for Turkish content, Asia is at forefront, with the country’s dramas adding new territories, both as a format and finished product.

“South East Asia is more interested in long running dramas, and in recent years we

Like There is No Tomorrow Mini-series

managed to enter into new territories with our mini-series and movies, such as Taiwan, Thailand, Korea and Japan,” details Pelin Koray, Senior Sales, Acquisitions Strategy Manager of Inter Medya.

“One of the trends that we see in the region is the increasing popularity of global digital platforms. Most of the clients require YouTube rights, as the YouTube audience is

“Audiences in the CEE region are becoming more selective, seeking unique and compelling stories that reflect their cultural and social realities”

Sinem Aliskan, Senior Sales and Communication Manager of Inter Medya

huge, specifically in South East Asia. It is also an important promotional tool and has a crucial impact on the success of the content on TV,” she shares.

This has led to deals for ‘Dreams and Realities’ and ‘The Ivy’, alongside great interest for ‘Like There is No Tomorrow’, another stellar Gain mini-series, led by worldwide famous stars, Halit Ergenc and Tuba Buyukustun.

“Our mini-series enable us to respond to different searches and new trends, proving the success of the Turkish content industry in producing high-quality content across all genres,” explains Aliskan.

Traditional dramas are also adding new deals constantly, with titles like ‘Deception’,

“South East Asia is more interested in long running dramas, and in recent years we managed to enter into new territories with our mini-series and movies, such as Taiwan, Thailand, Korea and Japan”

Pelin Koray, Senior Sales, Acquisitions Strategy Manager of Inter Medya

‘The Trusted’ or ‘Last Summer’, while the mentioned co-productions, that include ‘Love and Pride’, a content developed alongside Mega Global Entertainment, keep attracting a lot of attention.

Not done with all these titles, Inter Medya also keeps growing its offers in other genres, like formats and feature films. Recently the company premiered ‘Sayara ’, a movie directed by the popular Can Evrenol (‘Baskin’, ‘Housewife’). “We licensed the title in Korea even before the official launch at Istanbul Film Festival, and we are in discussions with Japan, Indonesia, Malaysia and India besides some European countries,” shared Koray. “The movie has also been selected by several festivals which we will announce soon.”

Love and Pride Drama

Deception Drama

Hicran Drama

Listings Dramas

GLOBAL AGENCY

+90 212 354 37 01

IG/X : @atvdistribution

www.atvdistribution.com

Suite: 218

EXECUTIVE

Sena Kul, Sales Assistant Specialist

SAFIR

(Drama, 89 x 45’)

TOP EXECUTIVE

Müge Akar, Head of Sales

Tel: +90 216 999 49 99

info@calinosentertainment.com

www.calinosentertainment.com

Suite: 223

FARAH (Drama, S1 & S2)

TOP EXECUTIVE

Asli Serim, Head of International Sales

Abdi İpekçi Cad. Park 19-1 Kat:3 Nişantaşı Estambul, Turquía

+90 (212) 241 26 93

info@theglobalagency.tv www.theglobalagency.tv

RED ROSES (Drama, ongoing)

TOP EXECUTIVE

Izzet Pinto, CEO & founder

+90 (212) 231 0102

info@intermedya.tv intermedya.tv

EXECUTIVES

Hasret Özcan, president

Sinem Alışkan, Senior Sales and Communication Manager

TOP EXECUTIVE

Can Okan, Founder & CEO

Feraye, a textile design student and housekeeper at a wealthy Gülsoy family mansion in Cappadocia, has a flaw in her affection for Yaman, one of the family’s heirs. Her father, Muhsin, married Cemile, who was cruel to the family. Ateş, the eldest child, returns to his native Cappadocia where his grandfather has grander plans for him. Yaman plans to propose to Feraye, but she meets Bora, a shady character.

STREET BIRDS

(Drama, 173 x 45’)

Five friends survive on the streets by selling handkerchiefs. They find a baby in the trash bin and, because of Mercan’s motherly instincts, they decide to take care of the baby; named ‘Gülayşe’. Çatal, the bad guy notices the baby, thus the chaos begins by accidentally hurting him on their way to escape.They also accidentaly kill the woman who was looking for the baby. Time goes by and the five ‘Ruthlesses’ are adults now. They run a cafe called ‘Ateş Kuşları’ and everything will soon fall apart after a policeman called Barbaros is after Gülayşe.

THE FATHER

(Drama, 224 x 45’)

A secret service assassin who served his country, Cezayir Türk, takes revenge on his brother for being sabotaged. The necessary actions are taken and he fakes his own death, for the sake of the two things he values most in the world: his family and the government.

Adapted from the award-winning Argentinian series ‘La Chica Que Limpia’; ‘Farah’ is the story of an Iranian woman, who had to run away from her country and is struggling to live in Istanbul, working as a cleaning lady in order to maintain the treatment of her son. One night while cleaning, Farah witnesses a mafia murder. She begs to the hitman Tahir to let her go promising to keep her mouth shut and offers to clean the murder scene.

EGO

(Drama. 40 TV hours)

The Koraslan Family is one of the most wellknown families in tourism industry in Turkey. Sibel and Tuncay are both involved in their family business. On the the other hand, the Ozturks are a middle-class family: Burhan being the father, who lost his beloved wife 2 years ago, woth his daughter Elif and son Arda. Elif, Erhan and Sibel’s lives will completely change, when Sibel decides to get pregnant with Erhan’s baby and makes an indecent but millionary proposal.

’Red Roses’ tells the poignant story of Meryem, married off at 14 in an Islamic sect, and now battling bravely to prevent her daughter Zeynep of suffering the same cruel fate as the bride of the sheikh’s grandson.

LIA

(Drama, S1-2, S3 ongoing)

‘Lia’ tells the story of a strong, beautiful woman entangled in a complex love triangle with the handsome Petru and his wife, whose jealousy and vengeance threaten tragedy. Forced to give up her ballet dancing dream and move in with her sole relative, Lia’s life is transformed forever when Petru sweeps her into a whirlwind romance. On her wedding night, Lia finds out that Petru already has a wife who just woke from a three-year coma, while Petru must confront his mobster rival who is out for revenge. When their enemies unite against them, Petru and Lia find themselves in grave danger and must outwit them if their love is to survive.

ONE LOVE (Drama, 95 x 1h)

‘One Love’ tells the captivating story of the idealistic Doga falling hopelessly in love at university with the charming Fatih, a man from a devout family whose values clash with those of her mother, creating a moving drama as they seek to overcome their differences. Doga’s life plans are turned upside down and her mother is shaken to the core when she refuses to have an abortion and instead marries him. With her devastated mother convinced that religion will doom their marriage, Doga and Fatih face a battle for their love to triumph over this culture clash.

LOVE AND PRIDE (Drama, TBA)

The Köksoys live in an ancestral mansion as a wealthy and rooted family. With three daughters, the family is sinking and on the verge of losing everything. In a state of great panic, they contemplate how to escape the impending disaster when Tolga enters their lives like a savior. He is the heir to a wealthy and established family. If one of the daughters marries him, life will continue as it used to, affluent and secure.

DECEPTION

(Drama, TBA)

Güzide Yenersoy is a respectable family court judge living in Istanbul. With a marriage of 30 years and two children, she has what could be described as the epitome of a perfect family. Although everything seems to be going well, Güzide is not aware that the events buried in the past will come to light again. Every member of her family, whom she loves and dedicates her life to, is lying to Güzide.

LEYLIFER

(Drama, 120 x 45’)

Meryem, formerly known as Maria, travels to Istanbul with her husband Kemal and children for his sister’s wedding. However, their plans to return to their home in Spain are abruptly disrupted when Kemal goes missing and is later found dead in a burned-out car with a woman Meryem has never met. Believing that Kemal was murdered, Meryem vows to stay in Istanbul until she finds his killer.

Safir

Farah

INTER MEDYA

Love And Pride

Red Roses

KANAL D INTERNATIONAL MADD ENTERTAINMENT

elif.tatoglu@kanald.com.tr kanald.international Suite: 219

TOP EXECUTIVE

Elif Tatoğlu, Distribution Strategy & Sales Director

SECRET OF PEARLS

(Drama, 44’)

Azem’s life shatters when he takes the blame for his wife’s death to protect his daughter. After prison, he seeks his adopted children, navigating complex relationships, but time has taken its toll.

A FATHER’S PROMISE

(Drama, 67 x 44’)

In 1980’s political turmoil, Mustafa sacrifices to save his wife, leaving his daughter with the wealthy Ronas. A poignant tale unfolds as they reunite, facing dangers and love’s resilience.

DAYLIGHT

(Drama, 45 x 44’)

Gece’s summer dreams of university and music in Istanbul are disrupted when her family moves to Foça for her sister Gülce’s special needs. A tale of love, maturity, and unexpected challenges unfolds.

Esentepe, Kore Şehitleri Caddesi, No.5/3 Şişli/ İstanbul 34394, Türkiye +90 212 273 24 34 info@madd.tv www.madd.tv

Suite: 224

EXECUTIVE

Salmi Gambarova, Senior Sales Manager

BLOOMING LADY

(Drama, 75+ x 45’)

TOP EXECUTIVE

Alaa Elabasy, Senior Sales Manager

Ucer Sokak 13, 34696, Estambul, Turquía hello@themediahub.tv themediahub.tv Suite: 223

EXECUTIVE

Sangerim Zhakhina, Sales & Business Development Manager

ALACA (Drama, 120 x 42)

After 20 years of living for others, a housewife decides to complete her medical residency and put herself first. When stay-at-home mother Bahar faces a life-threatening illness, she decides to make some changes in her life. She goes back to complete the medical residency she had to give up 20 years ago, even though that means working under her husband, the Chief Surgeon, and with her son, another first-year resident. Neither they nor her teenage daughter are happy about it, but Bahar finds satisfaction in her new life.

MY WONDERFUL LIFE

(Drama)

From the shimmering skylines of Dubai to the sun-soaked shores of Miami, ‘My Wonderful Life’ follows the journey of Şebnem—an anti-heroine born from adversity—who claws her way to the top of society’s ladder. Despite her brains, no one thought she would make it to their level. But with a dash of plastic surgery and unwavering ambition, Şebnem seizes the ultimate prize: a wealthy husband named Onur. Amidst the glitz and glamour, Şebnem’s life takes a turn as her criminal history comes back to haunt her.

TOP EXECUTIVE

Elif Turna, Sales and Business Development Manager, Americas and Europe

Alaca, a young and innocent girl born out of an affair between ruthless Baki and ambitious Emel, lives unaware of her true origin. Her life takes a dramatic turn when her rich and powerful biological father needs a kidney for her dying daughter. Along her quest for answers, she discovers that even the love of her life, Kenan, may be concealing the truth from her.

BROKEN LIVES

(Drama, 125 x 42)

‘Broken Lives’ story is about how much two young people can sacrifice for their love and how far a mother can go to leave everything behind for power and prosperity in Kocabey Mansion. ‘Broken Lives’ celebrates reaching over 50 countries during its tenure with MediaHub. The title prepares to travel to Latam with its new Spanish dubbed version.

Barbaros Mah. Fikret Mualla Sok. No:13. Fidem Prestij Blokları B Blok D:21 34664 Uskudar, İstanbul / Türkiye +90 216 695 1300 info@mistco.tv www.mistco.tv Suite: 221

EXECUTIVE

Zeynep Kayrak, Head of Marketing

TOP EXECUTIVE

Aysegul Tuzun, Managing Director

CODE NAME: SWIFT (Youth Drama)

Yiğit Efe, who wins 2nd place in a drone competition, meets Zeynep, who came 3rd. Aspar and Selim, who work for the mysterious company, clash with each other. Aspar thwarts Yiğit Efe’s victory, while Selim is tasked with stealing Yiğit’s project. Despite his reluctance, Selim goes to live with Yiğit. Meanwhile, Zeynep’s family moves in nearby. Will the company succeed in taking over the project?

THE JOY OF MY LIFE (Family Drama)

Neşe, who gave up her medical studies to get married and have two children, decides to return to medical school after many years. However, it will not be easy to put this decision into practice.

COME WHAT MAY (Drama, 89 x 45’)

The day Alize was born, her mother passed away. Although her father, Nurettin, tries to make her happy, Alize has become aggressive, selfish and confrontational. When Alize crashes into a repairman’s car and runs away, Nurettin decides to teach his daughter things he couldn’t teach her when she was younger, before it’s too late. So he proposes to his girlfriend Sinem, whom he has loved for years, but could not take the step to marry so that Alize would not be upset.

Secret Of Pearls

Blooming Lady

MISTCO

Code Name: Swift

Alaca MEDIAHUB

Listings Dramas

OGM UNIVERSE

Tomtom Mah. İstiklal Cad. Mısır Apt. No:163/17

Beyoğlu/ İstanbul mustafakeyvan@ogmuniverse.com Nesrineyupoglu@ogmunivers.com www.ogmuniverse.com Stand: 214

EXECUTIVES

Mustafa Keyvan, Sales Executive Nesrin Eyüpoglu, Marketing & PR Manager

DILEMMA

(Thriller, 8 x 45’)

TOP EXECUTIVE

Ekin Koyuncu Karaman, Global Distribution & Partnership Director

240, Varzea St, Barra Funda São Paulo / SPBrasil 01140-080 - São Paulo - SP, Brasil. Tel: +55 11 3300-4022 tbcastro@recordtv.com.br www.recordtvnetwork.com

EXECUTIVE

Thiago Castro, International Sales Executive

TOPÍSSIMA

(Telenovela, 145 x 45’)

TOP EXECUTIVE

Delmar Andrade, International Sales Director

Est dos Bandeirantes, N° 23505. Rio de Janeiro, Brazil. Postal Code: 22785-091. (+55) 21 3720-7029 edson.mendes@seriella.com @seriella-productions

KINGS

(234 x 45’)

TOP EXECUTIVE

Edson Pfutzenreiter Mendes, Commercial Director

Periférico Sur 4121, Col. Fuentes del Pedregal, C.P. 14140, México, CDMX tvaztecainternacional.com

EXECUTIVES

Dulce Ávila, directora of International Content Distribution, Fast Channels & Advertising Sales

Melissa Pillow, Sales Rep: Europe, CIS, USA and Africa

Paola Salinas, Sales Manager & Fast Strategies

Amanda Puente, Marketing TV Azteca Internacional

Neslihan Turhan is the host of the TV show ‘One Truth’. She touches people’s lives, sheds light on the stories that remain in the dark, and built her career on the principles of justice. Her life is upturned by the death of Lal Kaleli, in which Can, her son, is implicated. Caught between motherhood and all the principles that she believes in, Neslihan faces the most challenging

LOST IN LOVE

(Drama, 85 x 45’)

Mete and Naz, from affluent families, are bound by a childhood promise. Mete returns from studying abroad to fulfil his promise to marry Naz. However, fate intervenes when he meets İncila, Naz’s loyal servant. Both Mete and İncila carry emotional scars, and their unexpected connection complicates Mete’s feelings. Amidst family rivalries and secrets, the story delves into love, trust, and competition.

WHEN A MAN LOVES

(Drama, 26 x 45’)

This is an entertaining romantic love story series, based on the accidental romance of a divorced mother of two children, (Zeynep) and her single handsome, charismatic and successful boss, (Kenan). Yelda is also after Kenan and intends to carry the business partnership they have just started with him into marriage. Marriage is not an easy step for Kenan, but when he gets to know Zeynep, his mind starts to change because he falls in love with her.

Topissima is a telenovela that delves into the feminine universe and brings to light the conflicts of modern women: work versus love life, independence versus loneliness, motherhood versus career, aging versus aesthetics, illegality of abortion versus death, among others. In addition to the issues inherent to the female universe, we will have in parallel a police investigation full of twists and turns involving the protagonists.

ULTIMATE LOVE

(Telenovela, 148 x 45’)

Everyone would like to experience – or has imagined experiencing – a love story capable of overcoming any difference, prejudice or obstacle imaginable. This sentiment often arises in the most unexpected places and in even unlikely people. But when love proves to be true, nothing can stop it from uniting two lovers.

THE SLAVE ISAURA

(Telenovela, 167 x 45’)

A Brazilian telenovela, successful in over 80 countries worldwide. Based on the 1875 novel by Bernardo Guimarães. The telenovela shows a love story, amid the theme of slavery. Isaura is the daughter of the slave Juliana and the farm manager, Miguel. Juliana dies, and Isaura is raised and educated by the Commander’s family.

The story focuses on King David, exploring the events leading up to his reign and the early political workings before Israel became a kingdom. It also reflects David’s intense battles and loves, from his youth to his passing.

JESUS

(196 x 45’)

Sent by God, Jesus comes to the world in human form, out of love for humanity. He will break with the religious paradigms of that time, revealing who is, in reality, the enemy of humanity. In addition to the life and ministry of Jesus, the life trajectory of some people who were healed by Him and the story of those men who became apostles will be told.

THE TEN COMMANDMENTS

(242 x 45’)

The telenovela chronicles the journey of Moses, from his birth to his encounter with God in the Sinai desert, and his call to defy the mighty Pharaoh to reclaim freedom for his people. Impressive special effects depict the ten plagues that struck Egypt, followed by the shocking crossing of the Red Sea on dry land.

DRA. LUCÍA

(Drama, 50 x 45’)

Fernando Muñiz, Director Distribution & Strategic Alliances TV Azteca Internacional

Before the accident she was competing with Mariana for the position as head of the Emergency Department, but, after the accident, everything changed and Mariana was promoted instead of her. Mariana, with the help of her influences in the hospital, transfers her ex-boyfriend, Enrique Jimenez, but the plan goes wrong, as he immediately feels attracted to Lucia, who will have to deal with her personal situations, as well as saving the lives of those who arrive at the Central Hospital.

WHAT WOMEN KEEP IN SILENCE

(Unitary, 60 x 45’)

Women do not keep quiet about even the smallest problems. Although reality is always shown, images and language are carefully chosen to reach a larger audience. The program, under these guidelines, has been able to expose issues such as aggression, abuse and sexual discrimination, among others, towards women.

Dilemma

Kings

Topíssima

Dra. Lucía

SERIELLA TV AZTECA

EXECUTIVES

Mark Reynolds, Global Head of Documentaries at Fremantle

MARK REYNOLDS APPOINTED

GLOBAL HEAD OF DOCUMENTARIES AT FREMANTLE

FREMANTLE announced the appointment of Mark Reynolds as its new Global Head of Documentaries, reporting to Andrea Scrosati, Group COO and CEO Continental Europe. Mark joined the company as Interim Global Head of Documentaries in January 2024, in which time he has set the positioning strategy for our Global Documentaries unit. In his role Mark will continue to support the growth of the Fremantle Global Documentaries business, driving collaboration across production companies and labels around the world. Prior to his role at Fremantle, Mark was a consultant advising producers and platforms on programming, co-production and distribution strategies. Preceding this, he was Unscripted Portfolio Director at BBC Studios, responsible for growing the company’s portfolio of creative relationships and IP pipeline for all unscripted genres. Mark also had a long career at BBC Worldwide delivering the commercial and content strategy for factual for global distribution.

DISTRIBUTION

AWARDS

NON-ENGLISH CONTENT MAKES UP ONE THIRD OF VIEWING ON NETFLIX

NETFLIX PUBLISHED the second edition of “What We Watched: A Netflix Engagement Report”, capturing its viewership from July to December 2023. In regards to international content, the platform revealed its non-English shows and movies are very popular with audiences, making up nearly a third of all viewing. Korean (9% of viewing), Spanish (7%) and Japanese (5%) language stories captured the biggest share of viewing outside of English. Stand-outs include ‘Dear Child’ (53M) from Germany, ‘Forgotten Love’ (43M) from Poland, ‘Pact of Silence’ (21M) from Mexico, ‘Mask Girl’ (19M) from Korea, ‘Yu Yu Hakusho’ (17M) from Japan, ‘Berlin’ (11M) from Spain, and ‘The Railway Men’ (11M) from India.

BETA FILM ANNOUNCES THE SALE OF MÁXIMA IN EUROPE

ATRESMEDIA TV in Spain has acquired the broadcast rights to ‘Máxima’, the series that narrates the beginning of the romance between the current queen consort of the Netherlands and King William Alexander. After becoming one of the most critically acclaimed productions in the last edition of Canneseries, the company has reached an agreement with Beta Film and the fiction will soon be seen exclusively on Atresmedia. ‘Máxima’, which has six episodes of 50 minutes each, stars the Argentine actress Delfina Chaves as Máxima, and the Dutchman Martijn Lakemeier, who will play King

William Alexander. The fiction, based on the bestseller Máxima Zorreguieta: Madre Patria, by Marcia Luyten, discovers the life of the current Dutch queen before becoming part of the House of Orange. The filming of this blockbuster took place in Argentina, Belgium, Spain, the United States and the Netherlands. It has already premiered on Videoland, RTL’s streaming platform in the Netherlands, and has already confirmed its next broadcast in Italy (RAI), Germany (RTL), Latin America (Warner Bros. Discovery), Austria (ORF), Latvia ( LTV) or Hong Kong (Now TV), among other territories.

PRODUCTION STUDIOCANAL LAUNCHES STUDIOCANAL STORIES, FOCUSED ON LITERARY ADAPTATIONS

STUDIOCANAL announced the launch of Studiocanal Stories, advancing its path towards film and television adaptations of literary intellectual property. The company, owned by Canal+, announced the launch two years after launching a division dedicated to literary adaptations. Literary adaptations are a familiar path for Studiocanal, with ‘Beating Hearts’ and ‘The Most Precious of Cargoes’ showcased in Cannes; in addition to several adaptations already made such as the BBC series ‘War of the Worlds’ and ‘Ridley Road’, Harlan Coben’s novel ‘The Stranger’, and films such as ‘Tinker Taylor Soldier Spy’ and ‘A Boy Called Christmas’. Studiocanal is currently working on films such as ‘Miffy’, based on preschool books by Dick Bruna; the television series ‘Playing Nice’, based on the book by JP Delaney; and ‘How to Stop Time’, which was originally by author Matt Haig.

CONECTA FICTION & ENTERTAINMENT 2024

A SHOWCASE OF THE INDUSTRY’S CREATIVITY

With Brazil and Portugal as the focus countries, the 8th edition of Conecta Fiction & Entertainment presents a powerful program, once again led by highly anticipated pitching sessions and exclusive looks at new series.

The Conecta Fiction & Entertainment programme for its eighth edition will highlight new and current tendencies in the industry, with Brazil and Portugal as this year’s focus countries. The event will be held from 18 to 21 of June at the Palacio de Congresos El Greco in Toledo.

During the press conference for the program, the Regional Minister of Economy, Business and Employment of Castilla-La Mancha, Patricia Franco, highlighted how the relevance of the audiovisual sector for the economy of Castilla-La Mancha has evolved very favorably since Conecta was first held in Toledo in 2022: “Between January and May 2024, our film commission has managed 40 productions in the region and has processed more than 700 filming permits”.

The press conference included presentations from the director of the event, Géraldine Gonard; Javier Yraola, project management director of ICEX-Invest in Spain; and Silvia Pérez de Pablos, institutional director of audiovisuals at Fundación SGAE.

Gonard shared a summary of the programme’s contents, highlighting that “in total we will offer 71 activities with 175 speakers, 49.1% of whom will be women”.

The delegations from the focus countries will be made up of 50 Portuguese and 30

Brazilian participants; both countries together representing “a market of more than 217 million potential viewers and a long history of content production”.

In addition to the now famous pitching sessions -which this year have the added attraction of the Council of Europe to Series Co-production Development Award, valued at €50,000 in cash prize-, the conference agenda will analyse the wealth generated by the audiovisual industry in adjacent sectors such as tourism and services; the numerous

advantages that, together with one of the most competitive tax incentives in Europe, position Spain as a preferential destination for international filming; the innovative Commissioners Pitching sessions, in which spokespersons for the world’s major entertainment brands will detail their content needs; premieres and exclusive presentations of scripted titles that will soon be hitting screens all over the world; as well as numerous networking moments in the form of breakfasts and after-work cocktails that will put the finishing touch to the three intense days of work.

The delegations from the focus countries will be made up of 50 Portuguese and 30 Brazilian participants; both countries together representing “a market of more than 217 million potential viewers and a long history of content production”.

HIGHLIGHTS OF THE 2024 AGENDA

RTVE AND ITS SOON-TO-BE RELEASED TITLES

The Spanish public broadcaster, which repeats as one of the sponsors of the event by offering the coveted prize of a development contract for the best project of the pitch sessions, will star on the afternoon of Thursday, June 20th with two panels where it will review the scripted and factual titles that will soon be released on its channels and digital platforms: the historical crime series ‘Internal Affairs’ produced by Mediacrest; the international thriller ‘Cicatriz’, by Plano a Plano; the docuseries ‘Megamix Brutal’ by Producciones

del Barrio; and the multi-award winning co-production ‘This is Not Sweden’.

The Awards Gala of Conecta Fiction & Entertainment will be preceded by the preview of the first images of ‘Weiss & Morales’, the new SpanishGerman co-production by RTVE with its counterpart ZDF, a procedural series filmed in the Canary Islands starring Miguel Ángel Silvestre and Katia Fellin. The presentation will be attended by representatives from both public broadcasters, as well as the production companies, Portocabo and Nadcon Film.

NEW CONECTA DIGITAL FORUM IN NOVEMBER 2024

AI, immersive experiences, metaverse, extended reality… these are just some of the concepts that will shape Conecta Digital, a new parallel section within the official programme that will offer round tables, keynotes, workshops, networking spaces and project pitching sessions to analyse and demonstrate how these resources can take audiovisual production to still unimaginable limits.

In addition, at the Awards Gala on Thursday, June 20th, the Conecta Digital Award will be presented to the five projects that best integrate the digital creation tools, consisting of a programme of individual mentoring sessions and an in-person accreditation for the event of the same name, which will take place in November in Madrid.

EXCLUSIVE PRESENTATIONS OF NEW DISNEY+ SERIES

The Walt Disney Company will once again make a significant contribution to Conecta 2024 in two ways, as it will exclusively present two of its upcoming scripted series: the Disney LatAm team will lead the premiere of ‘Vidas bandidas’, a new Brazilian action and drama series from Star Original Productions slated to premiere on Disney+ soon. The screening of its first two episodes on Wednesday 19th at 7:00pm in the Auditorium of the Palacio de Congresos El Greco, will be open to the public of the capital of La Mancha, who will be able to learn first-hand the story of Serginho (Rodrigo Simas) and Raimundo (Thomás Aquino), partners in crime who work for the gang of Bruna (Juliana Paes), robbing tourists in Rio de Janeiro. The Disney premieres will continue with the exclusive presentation of ‘Ayla & the Mirrors’, a new original scripted YA series from Disney+ Spain, where music plays a fundamental role. On Friday 21st from 12:00pm, representatives from Disney, Federation Spain (producer) and Plus Music (music supervisor) will share in the panel Ayla & the Mirrors: 360º management of an IP the challenges involved in creating from scratch an IP aimed at young audiences with the aim of turning it into a successful franchise.

200th EDITION

INDUSTRY REWIND

This 2024 marks the 20th anniversary of TTVNews, a big reason to celebrate for our group, which, with the help of our colleagues and friends, has consolidated itself as one of the go-to media platforms in the audiovisual industry in Latin America. To mark the occasion, we’ve invited the executives that have accompanied us during all these years to walk down memory lane, all the way back to when they first started out in the industry.

In this, our 200th edition, we present a small sample of the executives that have shared their anecdotes and experiences with us. We will share the complete list of testimonies on our website, as well as our upcoming special edition for Mipcom Cannes 2024 in October.

Nadav Palti, CEO of Dori Media

Where were you 20 years ago?

I was in Israel 20 years ago, was doing many other things, but one of my jobs already was as CEO of Dori Media. The company had started in 2002 and, three years later, in 2005, we went to the London Stock Exchange and became a public company with Dori Media. We have many other companies in the media, airlines, and so on in our group.

What was your first industry event?

I think the first event I attended was Mipcom. It’s a very nice place, and the memories are good. It was a very active event. I remember we had a lot of meetings, we were running around, and we brought all our clients to a cocktail party that we organized in the evening. It was a day that started very early in the morning and went into the evening.

Ozkan Ipek, founder of Yeşil Yapim / Haciyatmaz Group

Where were you 20 years ago?

I was working in a distribution and production company, so we were buying TV rights of foreign movies for Turkish broadcasters. Plus, we decided that the distribution business was slowing down, so we had to do something new, which was starting a production arm for the company. And we started producing a TV show called ‘Aşkımızda Ölüm Var’, starred by Oktay Kaynarca and Ece Uslu. They were very famous back then and they are still very famous.

What was your first industry event?

It was Cannes Film Festival in 1996.

Beatriz Cea Okan, VP and Director of Sales and Acquisition of Inter Medya

Where were you 20 years ago?

Twenty years ago, I was working as a flight attendant in Spain. Now, after twenty years, I am living in Turkey, married to a Turkish man, and selling Turkish content. I never thought this could happen to me in my life.

What was your first industry event?

My first event was Mipcom.

Erik Jensen, Managing Director and Partner at CDC United Network

Where were you 20 years ago?

It seems to me that it was exactly 20 years ago when I partnered with Alexandre [Lippens] at CDC, which shows how fast time goes by. I think it was 2004 when I moved from Los Angeles to Brussels to partner with him.

And that’s where I’ve been ever since.

Now I’m back in Los Angeles, and yes, it’s been 20 years with CDC.

What was your first industry event?

My first international market was probably the Cannes Film Festival in 1996 or something like that. Perhaps it was a MIFED market in Milan, also around 1996.

Patricia Jasin, SVP Content Sales, Latam & Country Manager, Colombia at WBD

Where were you 20 years ago?

About 20 years ago, I was working in a company called Sixtus, which was a company that distributed films, with very beloved people who stayed in the industry. We were in that company with Daniel Rodriguez, Francisco Morales, Rosma Morales, Javier Salgado; we were a group of younger people and it was very fun. Professionally it was a very fun time and personally, my daughters were little, I had just arrived in the US, so I had all these challenges. I was a very busy woman and my life, in general, was a chaos, but I have very good memories of those years.

What was your first industry event?

I can’t remember what year I participated in my first international event, but it was a long time ago and I’m certain it was a Mipcom.

Alex Marin, Director of RCN Distribution

Where were you 20 years ago?

In 2004 my hair had already fallen out. I was working at Sony and was based in Mexico City. I was the Director of the Northern cone for the studio’s distribution.

What was your first industry event?

The first event I attended in the industry was Natpe 1993, in San Francisco. I didn’t like Las Vegas, because it was too many miles to walk, while New Orleans was fun, because culinary-wise, it’s a great city; but I also remember that in 1994 Natpe was held n Miami Beach and it was very well done

Pablo

Mancuso, General Manager of Distribution at Condista International

Where

were you 20 years ago?

The good thing is that I can answer that I was already in the industry practically 20 years ago. I’m 42 now, and I was 22 at that time. I was working in Accion Group, a company very similar to Condista, led by my father, Alberto Mancuso. We were the agents for Hispanic television in the southern cone, and we had other products. I was dedicated more to the technical part; I was managing the inventory and logistics of decoders. Little by little, I was starting to get into sales.

What was your first industry event?

The first event I attended in the industry was a regional meeting, organized by Jorge Jacobi, in Rosario, Argentina. Later came Jornadas in Buenos Aires, which was already a major event. This coincided with a time in the industry when there were a lot of events. At my age, it was a lot of fun; giant stands, celebrities, great gifts and good parties.

Julio César Gómez, CEO of Canal DHE

Where were you 20 years ago?

Twenty years ago, I had just graduated as a Telecommunications Engineer. I was working in a company that represented channels like Discovery Channel, travelling all over Colombia, selling these signals and learning a lot about the market. I was taking my first steps to get here.

What was your first industry event?

My first big event in the industry was Andina Link, where I met many people in the industry, friends that I still have today. However, the first event I attended was held in Medellín, organized by Colombia’s community television services, some 20 years ago.

Sibel Levendoğlu,

Sales Manager for the Americas and Iberia at Kanal D International

Where were you 20 years ago?

20 years ago in 2004, I was working at Hilton Istanbul as a receptionist. I totally changed industries as you can see.

What was your first industry event?

My first international market when I started working in this industry was Miptv in Cannes in 2011. It was very exciting for me because I was just starting this new work.

Fidela Navarro, CEO of Dopamine

Where were you 20 years ago?

I had just arrived in Mexico. I organized an International Festival of Journalists at the Guadalajara International Book Fair, and from there, I founded a career in journalism. I worked with many young people in television stations until my position as Director of Content Distribution at TV Azteca about 11 years ago.

What was your first industry event?

My first event was a Mipcom, and I fell in love with the market, colleagues, industry, stories, and activity. To this day, we still see each other, and I am sure we will see each other for another 20 years. Why? Because we live in a global world with increasing diversification of players and content, more opportunities to produce, more windows to mount formulas, and above all, more and more audiences. We live in a very buoyant world where TTVNews is always and will always be there. Congratulations again to the team, and may there be much more news.

Delmar Andrade, International Sales Director of the Record TV Network Group

Where were you 20 years ago?

The telenovela department didn’t exist yet, so I was working as Vice Director of the television channel. We started Record Group 22 years ago, we were in Brazil facing the great difficulties that we all faced 20 years ago; the government was a little more complicated. When we acquired the Record Group, we had the opportunity to make a revival and this meant for the audience an opportunity for new programming, something new that came from the best producers in the world, Record TV began to bring the best products from the U.S. and Europe. So 20 years ago when TTV was starting, we were also starting the Record TV Network project.

What was your first industry event?

The first event in which we participated was in Cannes.

Fernando Muñiz, Head of Distribution and Strategic Alliances of TV Azteca

Where were you 20 years ago?

Twenty years ago I was director of Programming and Content at Sky in Mexico. I think at that time we were redoing the channel nomenclature and organizing it, putting the movie channels, entertainment channels and sports channels together. We were the first ones to do it and from there everyone copied us.

What was your first industry event?

My first event in the industry was Tepal, in 1994.

Zasha Robles, CEO of Spiral International

Where were you 20 years ago?

When your publication started in 2004, I was working in Etcétera, a company started by my parents. My whole professional career has been in Etcétera, and I was working in the dubbing area of the company. I was also starting the expansion of the company towards Europe and the distribution area.

What was your first industry event?

I am the second generation of Etcétera, and my first event was a Natpe, when I was seven or eight years old. At that time, I was going just to collect toys, not content. It was in the 80s. My first market as an executive, that was much more recent, in 1997.

Hasan Köroğlu, Founder and CEO of Kadraj Group

Where were you 20 years ago?

Twenty-three years ago, I was just starting my career. In my early beginnings I worked on post-production. I had previous experience in IT infrastructure, which helped me understand the industry and was also part of my motivation for working in audiovisual productions. All the experience gained over the years allows me and my team to provide high-quality audiovisual technical services to clients and audiences worldwide.

What was your first industry event?

My first international event was in 2016. I attended the FICCI Frames in Mumbai, India. It was an eye-opening experience. That event helped me gain valuable insight into the business and learn about innovations in the media, technology, and audiovisual industries. Attending these events enhanced and broadened my perspective on bridging the gap between production and sales.

Kerim Emrah Turna, CEO of MediaHub

Where were you 20 years ago?

I was heading and running my radio station, which I had created during my university years. I was not only the voice, but also the editor-in-chief. It was a pretty small organization, and it was taking its baby steps. I’m still in love with radio, and I still miss my radio days. It was so much fun.

What was your first industry event?

I guess it was at Miptv in 2007. At that time I was in sales, but was also working on acquisitions; more in acquisitions than sales.

Deeny Kaplan, Executive Vice President at The Kitchen

Where were you 20 years ago?

The Kitchen is almost 23 years old, so it’s safe to say that 20 years ago, I was where I am now at The Kitchen. In that time, we have gone from three people to hundreds of people all over the world, with locations throughout Latin America, Europe, and the Middle East. We had tremendous growth and my hope is to be here for another 20 years.

What was your first industry event?

I think the first international trade convention I attended was when I was in college. I was visiting my parents in Washington, DC, and Natpe was being held there. I had a friend who was a little older who was attending, and he asked me to go with him. I had no idea what it was. I went to Natpe and met people from all companies creating hardware for the entertainment industry. That’s when I understood that this was what I wanted to do with my life.

Müge Akar, Head of Global Sales at ATV Distribution

Where were you 20 years ago?

I was in high school in Copenhagen, Denmark, enjoying my teenage years.

What was your first industry event?

Miguel García, Head of International Sales at Atresmedia International

Where were you 20 years ago?

Twenty years ago, I was in high school, about to go to college. It was unclear that I would enter the audiovisual industry; my idea was to be a banker. Even in my last high school years, I considered being a bioanalyst. But life led me to discover this wonderful world of film and television. I was already very passionate about film and television, and I am now very happy and am developing my professional career in this field.

What was your first industry event?

In 2014, I attended my first market, the Cannes Film Festival; I entered in style. I remember perfectly that year, when I was sharing a room with another colleague from Imagina International Sales. I was an intern then, and it was my first experience; it was crazy, but it was wonderful. I discovered what the Palais des Festivals in Cannes was, and years later, I would be tired of visiting it. In addition, I was able to go to several cocktail parties, so I discovered the wonderful part of relationships and networking that this industry has. Another thing I learned very clearly is that if I wanted to go to film premieres, I had to wear a suit and bow tie.

UNDERSTANDING AUDIENCES

The Kitchen’s global initiative -with new “hubs” in Madrid and London- has been based on requirements for an allinclusive language service, with keen insight into the language, customs and dialects, all essential elements to provide a stellar localized product.

By Carolina Mussio @carolinamussio cmussio@todotv.tv

Europe has always “played a tremendous role in The Kitchen’s success”, explained Deeny Kaplan, Executive Vice President of The Kitchen, and that role is set to continue growing in the upcoming years with the localization company investing in new hubs around Europe, led by very experienced and well-known executives.

The most recent developments have been the creation of The Kitchen’s first European

language “hub” and Castilian Spanish dubbing studios in Madrid in 2023; and, earlier this year, The Kitchen introduced its first UKbased sales office in London.

“From our birth, in 2001, we have provided international language translation, dubbing and subtitling services for networks and independents from just about every European, Asian and Latin American country,” said Kaplan. “One of our first trips to Europe as The Kitchen, on behalf of one of the major global networks, was to visit their offices in multiple locations. The ability to understand different cultures and needs, adapting copy that is accepted by the individual audiences,

has always been how we operate and what we have provided to our clients.”

“With staff from around the world, The Kitchen has always made an effort to understand its audiences, with keen insight into the language, customs and dialect that all are essential to providing a stellar localized product,” she added.

This global initiative aims to create an all-inclusive language service, offering all languages, with solutions for all language needs.

“With 44 European countries, plus the UK, the market, the diversity of languages, the thousands of possible local dialects, are all part of our daily ‘asks’,” explained Kaplan, who highlighted that France, Italy, German and Spain continue to lead all European localization requirements. “[But] with the worldwide growth in television-owned households, the rise of FAST channels and broader internet experiences, we see all European languages contributing greatly to our industry’s future.”

“Central Europe, for example, is becoming a vital player, with program offerings now dubbed intro nearly every language,” she detailed. “And that is the very reason we acknowledge Natpe Budapest as one of the most important trade shows that we participate in yearly.”

“With staff from around the world, The Kitchen has always made an effort to understand its audiences, with keen insight into the language, customs and dialect that all are essential to providing a stellar localized product”

AN OPPORTUNITY TO STEP INTO THE KITCHEN

At Natpe Budapest, The Kitchen will be represented by the two managing directors from Hungary, Lajos Petro and Gabor Somogyi. During the week, The Kitchen Hungary will be showcasing its new operational studio, and has extended an open invitation to Natpe attendees to schedule a visit. The company has been highlighting the depth and experience of its team in the different events over the past year, including recent addition, earlier this year, of Julie Beneteau, the International Sales Director of the London hub. “London is the foremost player in the European production industry and Julie is at the center of it,” explained Kaplan. “Her ability to quickly fly anywhere on the European continent is imperative to the our future.” Similar steps were taking with the Madrid “hub”, with Max Wynen, VP Global Operations, at the helm, and Miguel Ángel Burgos, as the studios’ Executive Director of Global Language Services.

Miguel Ángel Burgos, Executive Director of Global Language Services, The Kitchen

Lajos Petro, Managing Director, The Kitchen Hungary

Gabor Somgyi, Managing Director, The Kitchen Hungary

Julie Beneteau, International Sales Director, The Kitchen

Max Wynen, VP Global Operations, The Kitchen

Listings Natpe Budapest / Conecta

CALINOS ENTERTAINMENT

+90 212 354 37 01

IG/X : @atvdistribution

www.atvdistribution.com

Suite: 218

EXECUTIVE

Sena Kul, Sales Assistant Specialist

Müge Akar, Head of Sales

SAFIR

(Drama, 89 x 45’)

Feraye, a textile design student and housekeeper at a wealthy Gülsoy family mansion in Cappadocia, has a flaw in her affection for Yaman, one of the family’s heirs. Her father, Muhsin, married Cemile, who was cruel to the family. Ateş, the eldest child, returns to his native Cappadocia where his grandfather has grander plans for him. Yaman plans to propose to Feraye, but she meets Bora, a shady character.

STREET BIRDS

(Drama, 173 x 45’)

Five friends survive on the streets by selling handkerchiefs. They find a baby in the trash bin and, because of Mercan’s motherly instincts, they decide to take care of the baby; named ‘Gülayşe’. Çatal, the bad guy notices the baby, thus the chaos begins by accidentally hurting him on their way to escape.They also accidentaly kill the woman who was looking for the baby. Time goes by and the five ‘Ruthlesses’ are adults now. They run a cafe called ‘Ateş Kuşları’ and everything will soon fall apart after a policeman called Barbaros is after Gülayşe.

THE FATHER

(Drama, 224 x 45’)

Tel: +90 216 999 49 99

info@calinosentertainment.com www.calinosentertainment.com

Suite: 223

Asli Serim, Head of International Sales

FARAH

(Drama, S1 & S2)

Adapted from the award-winning Argentinian series ‘La Chica Que Limpia’; ‘Farah’ is the story of an Iranian woman, who had to run away from her country and is struggling to live in Istanbul, working as a cleaning lady in order to maintain the treatment of her son. One night while cleaning, Farah witnesses a mafia murder. She begs to the hitman Tahir to let her go promising to keep her mouth shut and offers to clean the murder scene.

EGO

(Drama. 40 TV hours)

The Koraslan Family is one of the most wellknown families in tourism industry in Turkey. Sibel and Tuncay are both involved in their family business. On the the other hand, the Ozturks are a middle-class family: Burhan being the father, who lost his beloved wife 2 years ago, woth his daughter Elif and son Arda. Elif, Erhan and Sibel’s lives will completely change, when Sibel decides to get pregnant with Erhan’s baby and makes an indecent but millionary proposal.

2 Raul Wallenberg st. Tel Aviv 6971901, Israel +972 3 647 8185 info@dorimedia.com dorimedia.com

Nadav Palti, President &CEO

AMIA

(Political drama, 8 x 45’)

Diego, a Mossad agent whose sister was killed in the Argentina terrorist attack, takes a leave of absence and hooks up with Gisela, a local journalist to find those responsible. Their journey to uncover the truth draws them into a world of espionage, intelligence agencies and arms dealers. A dubious world in which lies are truths, and justice and revenge become indistinguishable. The journey that the two embark on will eventually lead to a re-examination of their connection with their families and even their concept of self-identity.

INDAL

(Drama, 8 x 45’)

A group of Ethiopian Israeli youth decide to kidnap the police officer who peppered their adolescence with abuse and eventually murdered their closest friend. What starts off as a personal revenge scheme quickly boils over into a massive national protest movement against police violence and for equality. Led by the pain and rage of Selam, the beautiful sister of police’s victim, and the small-time crook Indal, the group capture the officer in an abandoned public pool and turn the whole area into an autonomous zone for the struggle.

Kungsgatan 48, 111 35 Stockholm, Sweden

info@ecchorights.com www.ecchorights.com

BEHIND THE VEIL

(Drama, 160 x 45’)

TOP EXECUTIVE

Barbora Suster, Sales Director for Latin America and Iberia

Karsu’s life takes a dramatic turn when her son, Kuzey goes missing. The two are eventually reunited, but the boy no longer sees her as his mother, and their relationship seems damaged beyond repair. Determined to reunite her fractured family, Karsu is betrayed by her husband Reha, who cheats on her with her best friend, prompting her to flee to her estranged mother’s home. Amidst the turmoil, Karsu navigates romantic entanglements while battling Reha’s vindictive tactics. Despite the challenges, her resilience shines as she focuses on reclaiming her son’s affection and forging a brighter future. I Am Mother stars Özge Özpirincci (Woman) in the lead role. TOP EXECUTIVE

A secret service assassin who served his country, Cezayir Türk, takes revenge on his brother for being sabotaged. The necessary actions are taken and he fakes his own death, for the sake of the two things he values most in the world: his family and the government.

Willing to do anything for her sick brother, Hançer marries Cihan, the sole heir of a wealthy family, to cover her brother’s treatment expenses. Cihan accepted the idea of an arranged marriage after his mother, Mukadder, tasked him with having a son to continue their noble bloodline. However, Mukadder, who never intended for the marriage to last and had planned to send Hançer away after giving birth, soon realizes her plan might be compromised. What starts off as an arrangement between Hançer and Cihan, soon develops into something much deeper when the two fall in love.

I AM MOTHER

(Drama, 198 x 45’)

3.486.843

Behind The Veil

Amia

Farah

Safir

ENDEMOL SHINE BOOMDOG

Km. 14.5 Carretera México-Huixquilucan No.123,Col. San Bartolomé Coatepec, Huixquilucan, Estado de México, CP 52770 endemolshinebd.com

EXECUTIVES

Clara Machado, Director of Scripted Development & Operations of Endemol Shine Boomdog

Frank Scheuermann, Unscripted Chief Content Officer of Endemol Shine Boomdog

LA CASA DE LOS FAMOSOS - S4

Twenty-three celebrities gathered under one roof, isolated from the outside world and recorded 24 hours a day, 7 days a week to know how they really are. They face daily challenges to stay in the house with the goal of overcoming week by week the challenge of nomination and elimination with the goal of winning the briefcase with 200 thousand dollars.

MASTERCHEF CELEBRITY - S4

Celebrities will demonstrate their skills behind the stove in culinary challenges that will culminate in an elimination to discover if they have the seasoning necessary to win the prize of one million pesos. Whether as a team or individually, each challenge will have a winner who will enjoy certain privileges and responsibilities. Deciding the winners and eliminated will be the task of three internationally renowned Chefs who, in addition to evaluating the dishes, will share with the participants some of their own recipes, techniques and secrets.

Abdi İpekçi Cad. Park 19-1 Kat:3 Nişantaşı

Estambul, Turquía +90 (212) 241 26 93 info@theglobalagency.tv www.theglobalagency.tv

Izzet Pinto, CEO & founder

RED ROSES

(Drama, ongoing)

’Red Roses’ tells the poignant story of Meryem, married off at 14 in an Islamic sect, and now battling bravely to prevent her daughter Zeynep of suffering the same cruel fate as the bride of the sheikh’s grandson.

LIA

(Drama, S1-2, S3 ongoing)

‘Lia’ tells the story of a strong, beautiful woman entangled in a complex love triangle with the handsome Petru and his wife, whose jealousy and vengeance threaten tragedy. Forced to give up her ballet dancing dream and move in with her sole relative, Lia’s life is transformed forever when Petru sweeps her into a whirlwind romance. On her wedding night, Lia finds out that Petru already has a wife who just woke from a three-year coma, while Petru must confront his mobster rival who is out for revenge. When their enemies unite against them, Petru and Lia find themselves in grave danger and must outwit them if their love is to survive.

ONE LOVE

(Drama, 95 x 1h)

‘One Love’ tells the captivating story of the idealistic Doga falling hopelessly in love at university with the charming Fatih, a man from a devout family whose values clash with those of her mother, creating a moving drama as they seek to overcome their differences. Doga’s life plans are turned upside down and her mother is shaken to the core when she refuses to have an abortion and instead marries him. With her devastated mother convinced that religion will doom their marriage, Doga and Fatih face a battle for their love to triumph over this culture clash.

Rua Evandro Carlos de Andrade 160 / 7º andar. Vila Cordeiro 04583-115, San Pablo, Brasil +55 11 5112-4559 www.globo.com/screening

Gabriel Bonelli, Head of International Sales

REBIRTH

(Telenovela, 120 x 45’)

A remake of the 1990’s smash hit, ‘Rebirth’ tells the saga of José Inocêncio. After making a pact with Jequitibá, José Inocêncio becomes a mythical figure, known as the most successful cocoa producer in the region. Although still young, he conquers the heart of Maria Santa. Their intense passion gives birth to four sons: José Augusto, José Bento, José Venâncio and the youngest, João Pedro, who never had the opportunity to meet his mother, as she dies giving birth to him.

JUSTICE: MALA CONDUCTA

(Serie, 28 x 45’)

by Manuela Dias, with artistic direction by Gustavo Fernández, the series follows four characters who end up in prison and, seven years later, leave jail and need to resume their lives in search for justice that goes beyond logic and legal trials. The production has the same format as ‘Justice: Life is not fair’, released in 2016, which was nominated for an International Emmy for Best Actress with Adriana Esteves and Best Dramatic Series.

+90 (212) 231 0102 info@intermedya.tv intermedya.tv

EXECUTIVES

Hasret Özcan, president

Sinem Alışkan, Senior Sales and Communication Manager

Can Okan, Founder & CEO

LOVE AND PRIDE

(Drama, TBA)

The Köksoys live in an ancestral mansion as a wealthy and rooted family. With three daughters, the family is sinking and on the verge of losing everything. In a state of great panic, they contemplate how to escape the impending disaster when Tolga enters their lives like a savior. He is the heir to a wealthy and established family. If one of the daughters marries him, life will continue as it used to, affluent and secure.

DECEPTION

(Drama, TBA)

Güzide Yenersoy is a respectable family court judge living in Istanbul. With a marriage of 30 years and two children, she has what could be described as the epitome of a perfect family. Although everything seems to be going well, Güzide is not aware that the events buried in the past will come to light again. Every member of her family, whom she loves and dedicates her life to, is lying to Güzide.

LEYLIFER

(Drama, 120 x 45’)

Meryem, formerly known as Maria, travels to Istanbul with her husband Kemal and children for his sister’s wedding. However, their plans to return to their home in Spain are abruptly disrupted when Kemal goes missing and is later found dead in a burned-out car with a woman Meryem has never met. Believing that Kemal was murdered, Meryem vows to stay in Istanbul until she finds his killer.

La casa de los famosos - S4

Red Roses

Love And Pride

Rebirth

Natpe Budapest / Conecta

KANAL D INTERNATIONAL

elif.tatoglu@kanald.com.tr kanald.international Suite: 219

TOP EXECUTIVE

Elif Tatoğlu, Distribution Strategy & Sales Director

SECRET OF PEARLS

(Drama, 44’)

Azem’s life shatters when he takes the blame for his wife’s death to protect his daughter. After prison, he seeks his adopted children, navigating complex relationships, but time has taken its toll.

A FATHER’S PROMISE

(Drama, 67 x 44’)

In 1980’s political turmoil, Mustafa sacrifices to save his wife, leaving his daughter with the wealthy Ronas. A poignant tale unfolds as they reunite, facing dangers and love’s resilience.

DAYLIGHT

(Drama, 45 x 44’)

Gece’s summer dreams of university and music in Istanbul are disrupted when her family moves to Foça for her sister Gülce’s special needs. A tale of love, maturity, and unexpected challenges unfolds.

MEDIAHUB

MADD ENTERTAINMENT MISTCO

Esentepe, Kore Şehitleri Caddesi, No.5/3 Şişli/ İstanbul 34394, Türkiye +90 212 273 24 34 info@madd.tv www.madd.tv Suite: 224

EXECUTIVE

Alaa Elabasy, Senior Sales Manager

BLOOMING LADY (Drama, 75+ x 45’)

TOP EXECUTIVE

Salmi Gambarova, Senior Sales Manager

After 20 years of living for others, a housewife decides to complete her medical residency and put herself first. When stay-at-home mother Bahar faces a life-threatening illness, she decides to make some changes in her life. She goes back to complete the medical residency she had to give up 20 years ago, even though that means working under her husband, the Chief Surgeon, and with her son, another first-year resident. Neither they nor her teenage daughter are happy about it, but Bahar finds satisfaction in her new life.

MY WONDERFUL LIFE (Drama)

From the shimmering skylines of Dubai to the sun-soaked shores of Miami, ‘My Wonderful Life’ follows the journey of Şebnem—an anti-heroine born from adversity—who claws her way to the top of society’s ladder. Despite her brains, no one thought she would make it to their level. But with a dash of plastic surgery and unwavering ambition, Şebnem seizes the ultimate prize: a wealthy husband named Onur. Amidst the glitz and glamour, Şebnem’s life takes a turn as her criminal history comes back to haunt her.

Ucer Sokak 13, 34696, Estambul, Turquía hello@themediahub.tv themediahub.tv Suite: 223

EXECUTIVE

Sangerim Zhakhina, Sales & Business Development Manager

EXECUTIVE

Barbaros Mah. Fikret Mualla Sok. No:13. Fidem Prestij Blokları B Blok D:21 34664 Uskudar, İstanbul / Türkiye +90 216 695 1300 info@mistco.tv www.mistco.tv Suite: 221

EXECUTIVE

Zeynep Kayrak, Head of Marketing

Elif Turna, Sales and Business Development Manager, Americas and Europe

TOP EXECUTIVE

Aysegul Tuzun, Managing Director TOP

Alaca, a young and innocent girl born out of an affair between ruthless Baki and ambitious Emel, lives unaware of her true origin. Her life takes a dramatic turn when her rich and powerful biological father needs a kidney for her dying daughter. Along her quest for answers, she discovers that even the love of her life, Kenan, may be concealing the truth from her.

BROKEN LIVES (Drama, 125 x 42)

‘Broken Lives’ story is about how much two young people can sacrifice for their love and how far a mother can go to leave everything behind for power and prosperity in Kocabey Mansion. ‘Broken Lives’ celebrates reaching over 50 countries during its tenure with MediaHub. The title prepares to travel to Latam with its new Spanish dubbed version.

STOP BORDER CONTROL CUBA (Docu-series, 12 x ‘25)

The hit show ‘Stop Border Control’ continues its journey around the world’s hottest borders. In this new season, an international film crew records for the first time the activities of Cuban security forces at La Havana Airport.

CODE NAME: SWIFT (Youth Drama)

Yiğit Efe, who wins 2nd place in a drone competition, meets Zeynep, who came 3rd. Aspar and Selim, who work for the mysterious company, clash with each other. Aspar thwarts Yiğit Efe’s victory, while Selim is tasked with stealing Yiğit’s project. Despite his reluctance, Selim goes to live with Yiğit. Meanwhile, Zeynep’s family moves in nearby. Will the company succeed in taking over the project?

THE JOY OF MY LIFE (Family Drama)

Neşe, who gave up her medical studies to get married and have two children, decides to return to medical school after many years. However, it will not be easy to put this decision into practice.

COME WHAT MAY (Drama, 89 x 45’)

The day Alize was born, her mother passed away. Although her father, Nurettin, tries to make her happy, Alize has become aggressive, selfish and confrontational. When Alize crashes into a repairman’s car and runs away, Nurettin decides to teach his daughter things he couldn’t teach her when she was younger, before it’s too late. So he proposes to his girlfriend Sinem, whom he has loved for years, but could not take the step to marry so that Alize would not be upset.

Code Name Swift

Alaca

Blooming Lady

ALACA (Drama, 120 x 42)

Secret Of Pearls

OGM UNIVERSE RECORD TV

Tomtom Mah. İstiklal Cad. Mısır Apt. No:163/17

Beyoğlu/ İstanbul mustafakeyvan@ogmuniverse.com Nesrineyupoglu@ogmunivers.com www.ogmuniverse.com Stand: 214

EXECUTIVES

Mustafa Keyvan, Sales Executive

Nesrin Eyüpoglu, Marketing & PR Manager

DILEMMA

(Thriller, 8 x 45’)

TOP EXECUTIVE

Ekin Koyuncu Karaman, Global Distribution & Partnership Director

240, Varzea St, Barra Funda São Paulo / SPBrasil 01140-080 - São Paulo - SP, Brasil. Tel: +55 11 3300-4022 tbcastro@recordtv.com.br www.recordtvnetwork.com

EXECUTIVE

Thiago Castro, International Sales Executive

TOPÍSSIMA

(Telenovela, 145 x 45’)

TOP EXECUTIVE

Delmar Andrade, International Sales Director

Est dos Bandeirantes, N° 23505. Rio de Janeiro, Brazil. Postal Code: 22785-091. (+55) 21 3720-7029 edson.mendes@seriella.com @seriella-productions

KINGS

(234 x 45’)

TOP EXECUTIVE

Edson Pfutzenreiter Mendes, Commercial Director

Periférico Sur 4121, Col. Fuentes del Pedregal, C.P. 14140, México, CDMX tvaztecainternacional.com

EXECUTIVES

Dulce Ávila, Director of International Content

Distribution, Fast Channels & Advertising Sales

Melissa Pillow, Sales Rep: Europe, CIS, USA and Africa

Paola Salinas, Sales Manager & Fast Strategies

Amanda Puente, Marketing TV Azteca Internacional

Neslihan Turhan is the host of the TV show ‘One Truth’. She touches people’s lives, sheds light on the stories that remain in the dark, and built her career on the principles of justice. Her life is upturned by the death of Lal Kaleli, in which Can, her son, is implicated. Caught between motherhood and all the principles that she believes in, Neslihan faces the most challenging

LOST IN LOVE

(Drama, 85 x 45’)

Mete and Naz, from affluent families, are bound by a childhood promise. Mete returns from studying abroad to fulfil his promise to marry Naz. However, fate intervenes when he meets İncila, Naz’s loyal servant. Both Mete and İncila carry emotional scars, and their unexpected connection complicates Mete’s feelings. Amidst family rivalries and secrets, the story delves into love, trust, and competition.

WHEN A MAN LOVES

(Drama, 26 x 45’)

This is an entertaining romantic love story series, based on the accidental romance of a divorced mother of two children, (Zeynep) and her single handsome, charismatic and successful boss, (Kenan). Yelda is also after Kenan and intends to carry the business partnership they have just started with him into marriage. Marriage is not an easy step for Kenan, but when he gets to know Zeynep, his mind starts to change because he falls in love with her.

Topissima is a telenovela that delves into the feminine universe and brings to light the conflicts of modern women: work versus love life, independence versus loneliness, motherhood versus career, aging versus aesthetics, illegality of abortion versus death, among others. In addition to the issues inherent to the female universe, we will have in parallel a police investigation full of twists and turns involving the protagonists.

ULTIMATE LOVE

(Telenovela, 148 x 45’)

Everyone would like to experience – or has imagined experiencing – a love story capable of overcoming any difference, prejudice or obstacle imaginable. This sentiment often arises in the most unexpected places and in even unlikely people. But when love proves to be true, nothing can stop it from uniting two lovers.

THE SLAVE ISAURA

(Telenovela, 167 x 45’)

A Brazilian telenovela, successful in over 80 countries worldwide. Based on the 1875 novel by Bernardo Guimarães. The telenovela shows a love story, amid the theme of slavery. Isaura is the daughter of the slave Juliana and the farm manager, Miguel. Juliana dies, and Isaura is raised and educated by the Commander’s family.

The story focuses on King David, exploring the events leading up to his reign and the early political workings before Israel became a kingdom. It also reflects David’s intense battles and loves, from his youth to his passing.

JESUS

(196 x 45’)

Sent by God, Jesus comes to the world in human form, out of love for humanity. He will break with the religious paradigms of that time, revealing who is, in reality, the enemy of humanity. In addition to the life and ministry of Jesus, the life trajectory of some people who were healed by Him and the story of those men who became apostles will be told.

THE TEN COMMANDMENTS

(242 x 45’)

The telenovela chronicles the journey of Moses, from his birth to his encounter with God in the Sinai desert, and his call to defy the mighty Pharaoh to reclaim freedom for his people. Impressive special effects depict the ten plagues that struck Egypt, followed by the shocking crossing of the Red Sea on dry land.

DRA. LUCÍA

(Drama, 50 x 45’)

Fernando Muñiz, Director Distribution & Strategic Alliances TV Azteca Internacional

Before the accident she was competing with Mariana for the position as head of the Emergency Department, but, after the accident, everything changed and Mariana was promoted instead of her. Mariana, with the help of her influences in the hospital, transfers her ex-boyfriend, Enrique Jimenez, but the plan goes wrong, as he immediately feels attracted to Lucia, who will have to deal with her personal situations, as well as saving the lives of those who arrive at the Central Hospital.

WHAT WOMEN KEEP IN SILENCE

(Unitary, 60 x 45’)

Women do not keep quiet about even the smallest problems. Although reality is always shown, images and language are carefully chosen to reach a larger audience. The program, under these guidelines, has been able to expose issues such as aggression, abuse and sexual discrimination, among others, towards women.

Dilemma

Kings

Topíssima

Dra. Lucía

SERIELLA TV AZTECA

EXECUTIVES

Bruno Pena Calvo, Director of Entertainment Production at Satisfaction Iberia

BRUNO PENA CALVO DIRECTOR OF ENTERTAINMENT PRODUCTION AT SATISFACTION IBERIA

SATISFACTION IBERIA announced the incorporation of Bruno Pena Calvo as Director of Entertainment Production. The executive joins the team from Mediacrest, where he worked for the last five years as a producer. “I fondly remember when I joined Mediacrest on April 15, 2019 and there were no chairs or tables. Since then I have grown and enjoyed a lot in the production company, for which I only have words of gratitude,” said Pena Calvo. “Many thanks to Daniel Domenjó for trusting me again, with whom I predict great adventures,” he added, thanking the CEO of Satisfaction Iberia, who then commented: “Very happy to have you around, Bruno Pena Calvo. You know better than anyone that talent, generosity and kindness always find new paths to grow. Proud and lucky to have you in the Satisfaction Iberia family”. This appointment follows those of David Gallart and Juan Navarrete last March, and those of David Llanes and Jordi Rosell in January of this year.

STREAMING PRIME VIDEO TO PREMIERE BRITISH VERSION OF SPAIN’S CULPA

MÍA

AT THE WORLD MEDIA

FESTIVALS

SIC INTERNATIONAL

DISTRIBUTION announced that the drama ‘Timeless Love’ won the Gold Medal at the 25th edition of the World Media Festival, an event that took place in Hamburg, Germany. The content distribution company highlights this recognition as a “notable achievement”, thanks to the quality of the fiction produced by SP Televisão. ‘Timeless Love’ was written by Inês Gomes, with a script by Cândida Ribeiro, Rita Roberto, Ana Casaca, Ana Vasques, José Pinto Carneiro and Manuel Carneiro and directed by Jorge Queiroga. The telenovela is the overwhelming story of a forbidden love that will be tested in every possible way, shedding light on the best kept secrets of a powerful family that faces a complicated succession crisis.

PRIME VIDEO has revealed that it will premiere the new British Original film, ‘Culpa Mía: Londres’, following the global success of the Spanish Original film ‘Culpa Mía’. ‘Culpa Mía: Londres’, whose filming recently wrapped in the United Kingdom, is a new version of the story of Nick and Noah, an exciting remake starring British actors Asha Banks (‘A Good Girl’s Guide to Murder’) and Matthew Broome (‘The Buccaneers: aristocrats for love’). ‘Culpa Mía: Londres’ is produced by 42 and directed by Dani Girdwood and Charlotte Fassler, with a script by Melissa Osborne (‘Change’). The British original film is produced by 42’s Ben Pugh and Erica Steinberg, with Kari Hatfield executive producing alongside Pokeepsie Films’ Alex de la Iglesia, Carolina Bang and Domingo González.

WITH NEW RELEASES, classics and formats, Globo will participate in the main audiovisual industry events in Eastern and Central Europe, including Natpe Budapest, where Rodrigo Nascimento, Head of International Business, will participate in the panel “Driving Efficiency through Partnerships” to talk about content partnerships and co-productions. The

group will be presenting titles such as ‘Never Give Up’, ‘Pantanal’, ‘Rebirth’ and ‘Justice: Misconduct’, as well as classics such as ‘India: A Love Story’, ‘Precious Pearl’, ‘Family Ties’, ‘The Clone’, ‘Terra Nostra’ and ‘Brazil Avenue’. Other titles in the portfolio are the telenovelas ‘Land of Desire’, ‘Crossed Paths’ and ‘Perfect Love’ and the Globoplay Originals series ‘The End’, ‘Under Pressure’ and ‘Unsoul’.