TTV - Conecta Fiction & Natpe Budapest 2024 - Dramas

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