Conecta Fiction & Entertainment 2022: 12 Takeaways

Fully on site last week and for the first time since 2019, Spain’s first major TV event, Conecta Fiction & Entertainment, is back with plenty of winning formula in its early pre-pandemic releases: A stunning place in Spain, here is the majestic historical city of Toledo; TV project pitches; Intense conference strand. Fantastic opportunities for networking, and in particular the possibility of spending quality time with personalities of the Shaker and Movers industry from Spain and Latin America.

“I love being here and it is healthy, mainly for communication. I learn a lot, it’s like going to school,” said Manuel Marti of Fremantle in Toledo. Most of the attendees agreed with him.

But compared to 2019, the industry has moved forward and is now experiencing even greater turmoil. Next, 12 tips for the powerful and intense sixth Conecta Fiction novel, which runs June 21-24:

Konecta’s Imagination: Bigger Than Ever…

This year’s edition was the biggest ever, with 728 delegates, Geraldine Gunnard, director of science fiction at Connecticta, announced on Friday. That beats the 692 Pamplona cars in 2019. No wonder. Global spending on content has nearly doubled in a decade, up 94% from $123 billion in 2012 to an estimated $235 billion in 2022, according to a study presented by CF&E’s Hannah Walsh on Thursday. Part of that growth – but only part of it – is streaming content spending. Driven by competition, Walsh said, it quadrupled from $10 billion in 2017 to $40 billion in 2022.

… and expand it

It also expanded its reach, launching Format, Docu-Drama and High-End sessions, and receiving projects from all over Europe and beyond, such as the winner of the Co-Pro Series in Lebanon “Status Quo”, CF&E’s first Arabic title. -Pro were Spanish, Argentinian, maybe Chilean. This year they came from Ukraine, Italy, Uruguay, Spain, Portugal, Iceland, Lebanon and Finland. “The scope is now much wider, global TV panorama. This is a positive thing.”

Disney Dazzles: “Santa Evita”

The most amazing event in Conecta Fiction was the June 22 preview party with stars in the pilot episode of “Santa Evita,” a banner title from Star Plus, Walt Disney’s streaming service in Latin America a year ago. Executive produced, among others, by Salma Hayek Pinault and co-directed by Rodrigo Garcia (“Nine Lives”), the Star Plus Productions series has been shot with cinematic glow and shot with a modern gender sensibility. Eva Perón appears as she has rarely been seen before: dead, her mummified corpse isolated by the Argentine military regime, and men still love, maim and fear her in equal measure.

VIS, Banijay, Beta Up the Ante in Spain

The big news in CF&E stirred up active American players and the Greater European Indies strengthened their presence in Spain.

VIS, the international studio Paramount, moved waves announcing an exclusive deal at first sight with Madrid and Los Angeles-based Morena Films (“Champions” and “below Zero”). Beta Fiction Spain has announced its first Spanish production, “Dolores,” a portrait of labor hero La Pasionaria. “There has always been a strong connection on the distinct side between Spain, Mexico and Hollywood,” declared Lars Bloomgren of Banijay, who just acquired Pokeepsie Films from Alex de la Iglesia.

Spain: a global platform leader

Again, this condensation hardly comes as a surprise. Significantly, Spain packs more movies (3) and series (5) into Netflix’s top 10 international non-English movies than any other country in the world, including Korea (2). Even during June 13-19, led by “Intimacy”, the world’s most-watched non-English TV show on Netflix, the watched hours of the top 10 Spanish shows and movies rank three times more than in any other country. From 2018 to 21, titles in Castilian Spanish became the most sought-after non-English content for SVOD operators in the US, outperforming Japanese and outpacing Indian, French and Chinese, according to Omdia’s Maria Rua Agwete. Even without the “money theft”, Spain is still rocky.

The next generation of women writers sparking the imagination of Connecta

Widely praised for his sharp writing, “Intimacy”, a politically/sexual abuse-sensational melodrama, was penned by Verónica Fernández (“Velvet Collection”) and Laura Sarmiento Palárez (“Ceremony”). Now, women writers of the new generation are making their impact, behind more avant-garde projects in Conecta Fiction. Written by Leticia Dolera (“Perfect Life”) and Almudena Monzú (“Picadero”), “Puberty” has been rated as one of the most controversial, high-end, sexually taboo dramas. Spaniard Lear Albinarat won two awards for A Wicked Life, set in Madrid in 1901, which “breaks the boundaries of period dramas,” she said. diverse, Incorporating the “non-horrific perspectives of ostracized, gay, and disabled people”.

Buzz addresses

There was quite a bit of buzz over the Italian drama 6 to 8 PM, a erotic drama produced by Gomora and My Brilliant Friend Fandango, written by the latter’s writer, Francesco Piccoli. Bened Eduardo Sacheri, co-writer of The Secret In Their Eyes, the religious thriller Fabula Fremantle was CF&E’s biggest market offering. Featured on select companies’ ‘Our Women’s Lives’ pilot, an anthology series on violence against women from BTF Media Chile, headed by ‘The Suspended Mourning’ creator Hernan Cafiero, which also sparked a good word. Co-written and directed by Barbara Barrera Morales, another emerging talent of the new generation.

Toledo: Film and Television Center

Toledo is a tourist hotspot, just 40 minutes by train south of Madrid, a city with a massive Gothic cathedral and Alcázar Castle, bustling backstreets and a feel that still encapsulates the grandeur of old Spain. Ana Isabel Fernandez, general manager of Castilla-La Mancha, said the city now aims to also become a hub for modern film television, with the government and film commission holding meetings with 30 major international film companies in Conecta Fiction. Tourism, trade and crafts. Gonard said Spain has a lot to look for these days as a major attraction, pointing to competitive incentives, flexible work organization and much sought-after key technical talent.

Industry uncertainty

However, CF&T also occurred at a time of increasing industry headwinds, which inevitably affected conference discussions. One is the growing uncertainty about what shows that the platforms, and indeed the European free-to-air networks, really want it. “Part of our success, when we got it, came from listening to the other side [of commissioners]Ramon Campos, in Bamboo, who produced with the most platforms, said. “Now, you can’t do audience analysis. We’re working blindly. I have no idea what Netflix, Amazon or Apple are looking for,” added the ‘Velvet’ and ‘Cable Girls’ creator, noting that many of the top 10 songs on Netflix are in Nowadays, free series.

Spain is divided over its film and television future

On June 23, after several street demonstrations by protesting producers, the Spanish Senate approved a bill requiring operators in Spain to invest 3.5% of annual revenue in production by independent Spanish producers. Now the real arguments can begin. Major Spanish producers want a regulatory revolution for film and television that the Spanish government is putting forward: the return of rights to products produced with live broadcast equipment after five years; Increase from 25% to 45% of the current tax haven in Spain for independent producers. However, other producers want to ensure that 3.5% are not being met by the platforms’ regular producer partners. The Spanish government will try to find some kind of compromise a difficult invitation.

Two mantras: attract talent and retain intellectual property

James Townley of Banijay said on the CF&E panel that the two main challenges of the non-written content business are attracting and retaining talent. These two concerns prove Conecta’s statements. Only quick training could go any way to solve the talent battle. Producers in Toledo had higher hopes for intellectual property. Often matters are resolved by the market itself. The post-pandemic economic landscape has caused a small bump in the growth of streaming subscribers, so if broadcasting companies had to meet a certain number of hours per year and had to do so with less money, the obvious result would be co-production,” Marty.

Fabula is awesome

When Netflix unveiled Spencer’s “El Conde,” a Pinochet vampire movie, Fabula and Fremantle brought to CF&E a hot pack “Santa Maria” and dropped on Starzplay and Pantaya Pablo Fendrik “The Shelter,” the first big movie in Latin American Science Fiction Show. All in the same week. Most major producers in Latin America depend in part on providing services, noted Manuel Marty of Fremantle at CF&E. With offices in Chile, Mexico and the United States, Fremantle and Pantaya production alliances and the production of titles of the “Spencer” caliber, Fabula has grown to become the center of Latin American film and television talent through theatrical productions – a colossal achievement.

El Conde
Credit: Pablo Larrain/Netflix © 2022.

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