MipCancun 2022: Booming Viewers, Biopics, Movies, Co-Pros and an End to the Era of Volume – Diversity | Episode Movies

After Madrid’s Iberseries and Mipcom in Cannes, who on earth would want to travel a long way to a third TV forum in less than two months?

Well, quite a lot of people. Two weeks ahead of MipCancun 2022, taking place November 13-16, her organization confirmed attendance of over 800 delegates, marking a return to pre-pandemic levels. Why is another matter. 10 takes over this year’s edition:

MipCancun’s Boom

There are several reasons for the recovery in visitor numbers. “Europe and Latin America are no longer aligned. While the outlook in Europe is pretty bleak when it comes to developing scripted series with platforms, Latin America is still booming,” said Caroline Servy, Managing Director of The Wit, who will be presenting an overview of scripted and non-scripted films at MipCancun. Screenwriting trends across Europe will be Spanish speaking markets. “Our business continues to thrive, particularly in Brazil and Mexico, which are huge markets,” added Fremantle’s Head of Scripted Development, Latin America, Manuel Marti. As of January 2021, Netflix is ​​said to already have 19 million household accounts in Brazil, almost as many as the streamer’s 25.49 million for all of Asia. With Korea, Spanish-language shows fill nine of the slots in Netflix’s top 10 most-watched non-English series.

Evolving business models

Still, Latin America still has much of the same global streaming as the rest of the world, Marti notes. Business models are also evolving. For example, Globo meets MipCancun and promotes its telenovelas, led by “Pantanal” and “In Your Place.” “We are known internationally for our telenovelas, especially in Latin America. They are the true apple of the Brazilian viewer’s eye and travel across borders,” says Pablo Ghiglione, Globo Sales Manager. “There’s been a rebirth of similar continental storytelling,” notes Martí, calling the platforms’ mix of premium tier and long-form originals a “good thing” for streamers to boost their reach. “As the platform becomes more general [TV] believe they will attend all types of audiences,” he predicts.

Turkey in the foreground

Likewise, MipCancun’s biggest marketing efforts will not be with Spanish-language series, but with Turkish titles, which have an eager market in Latin America, particularly on leading linear networks: think Chile’s Mega or Argentina’s Telefe. As is their wont, Turkish international distributors will be in force, Inter Medya with recent big hit “Deception” and ATV Distribution “The Father” presented by The Wit at Mipcom, both stories about male lies. Leading Kanal D International is That Girl, about the young and beautiful Zeynap who dreams of becoming a social media influencer.

MipCancun: Movie Emporium

But as platforms shake things up, so will TV markets. Some of the biggest news at this year’s MipCancun revolves around movies. Fremantle’s Sheila Aguirre will present “Adolfo,” a feature film and relationship dramedy brilliantly directed by Mexican Sofía Auza and produced by The Immigrant. Erik Barmack’s Wild Sheep Content, which has a production alliance with The Mediapro Studio, is developing two new feature adaptations of Spanish crime novels to be shot in Mexico: Carmen Posadas’ Planeta Award-winning Pequeñas Infamias, her best-selling title, and El Susurro del Angel” by David Olivas. “Cinema has always been at the core of why we do what we do,” says The Immigrant’s Camila Jiménez-Villa. Producers will follow top talent, whether they’re making series or films. “We continue to see tremendous growth in taking great crime novels from Europe, particularly Spain, and adapting them to a global audience,” says Barmack.

Co-Pros Bloom

The Spanish-speaking industry has been talking about co-professionals for years. Conecta Fiction, Spain’s largest TV forum for the first half of the year, was created to facilitate connections between Latin America and Europe. Now, however, they finally seem to be booming. “We’ve talked about co-production for many years but haven’t really observed the results. Now we see many very real and ambitious projects. It’s new and more vibrant,” says Servy, citing as just one example “Las pelotaris”, part of a strategic production alliance between TelevisaUnivision’s premium service ViX+ and The Mediapro Studio.

Las Pelotaris
Courtesy of Star+

Goodbye to volume

Why the urge to co-produce is another matter. “The industry has changed quite dramatically over the last 12 months, as has the economy in general, taken a downturn,” said Christian Gabela, Gaumont’s senior vice president, head of Latin America, Spain and US Latin America. “The era of loudness is over. Streamers’ need to build libraries continues, but certainly not at the pace that existed before,” he adds. “In good times, there has been a greater emphasis on volume and revenue (revenue and subscriber) growth, sometimes at the expense of quality and profitability.

“We have certainly seen a dramatic drop in commissioned projects over the past six months. In the volume boom era, both producers and distributors felt that licensing and co-production deals were more difficult to make as streamers would need to own all the rights to build their libraries.” The question now is whether these models will make a comeback and once again become a useful alternative to the contract model. Perhaps this partly explains the rush of visitors at this year’s MipCancun.

The Age of Uncertainty

“In the short term, production budgets will certainly come under more pressure,” predicts Gabela. “Another layer of uncertainty is the fact that the vast majority of larger companies are consolidating or undergoing organizational changes accompanied by a strategic change in business models.” This leaves producers in a bind. Gabela shares: “One issue we are discussing internally is whether to hold on to projects until there is a clear understanding of what the prospects are in terms of buyer needs and appetites. Or do we launch projects as soon as they are finished?” Gaumont decides on a case-by-case basis.

Biopics Rule OK

However, how is the production of Latin American drama series developing? “Fiction based on true events is a global trend, but biopics remain a Latin American favorite within that trend,” says The Wit’s Servy. Much of the run at Madrid’s Iberseries has been made by two bio-series: Paramount+’s Bosé, Prime Video-powered El Presidente: The Corruption Game, and Ringo, a Star+ banner title. Expect more title announcements at or shortly after MipCancun.

El Presidente: The Corruption Game

A greater inclusivity

But the market is moving again. What’s new, The Wit’s Servy argues, is greater inclusivity, such as B. Series with leading actors from over 60-year-olds like “El Encargado” by Star+ with Guillermo Francella (“The Secret in Their Eyes”) or “El Buen Retiro”. a retirement home dramedy co-produced by Kuarzo and Argentine cable TV Flow.

El encargado
Courtesy of Star+

The killer content

For Latin America, “the main trend is still melodrama. There was a comeback, but with a premium feel,” says Martí, citing the Netflix top 10 show Who Killed Sara? which “has all the ingredients of a melodrama but contains the typical thriller”. “Latin storytelling is a lot more character based because you can build a long format with it. The narration from the USA is based more on plots. So when you mix them up, you have killer content.”

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