Mipcom Cannes - Global distributors discuss market trends and Nordic content

Mipcom Cannes is only a week away and expectations from buyers and sellers of TV content are extremely high.

After subdued physical activity over the last two years due to the pandemic, sales agents are reporting fully-booked schedules. Mega-production and distribution groups such as Endemol and Banijay are holding multiple press meetings, drinks and beach parties, and the programme of panels and keynotes is filled with heavyweight speakers.

Between MIP-Junior (October 15-16) and MIPCOM Cannes (October 17-20), organisers RX France (former Reed Midem) are expecting more than 10,000 delegates, set to mingle with the 300 exhibitors from 45 countries that have booked space at the rebranded International Co-production and Entertainment Content Market in Cannes.

One of the novelties will be the inaugural 1,000 square meters Seaview Producers Hub, set up to ease networking at a time when co-productions are more than ever critical for the audiovisual industry.

We’ve asked a handful of key international sellers/co-financiers of Nordic content to give us a snapshot of their hottest Nordic titles and market trends.

Fleur Wheatley, VP of Sales, Keshet International

What will be your Nordic highlights at MIPCOM?
FW: One of our key highlights is the coming-of-age mystery drama Summer of Sorrow. Produced by Rabbit films and directed by the multi-award-winning Jani Volanen, who also created and wrote it, this 10-part drama is a tale of one fateful summer, seen through the eyes of the children at the heart of a terrifying mystery. Summer of Sorrow was one of 10 shows selected for the 2022 MIPTV Drama Showcase earlier this year, and it will premiere across Finland on Elisa from 16 October.

We also have a couple of returning comedy dramas-the third season of Monster Scripted’s relatable Pørni starring Henriette Steenstrup, has already sold into 45 territories worldwide – and the second season of Dionysos Films’ charming multigenerational drama, Roomies.

What type of shows (genres, formats) are in high demand these days?
FW: I’d say premium documentaries with exclusive access, amazing talent, and stories that haven’t been told before or are being told from a completely new angle - like our three-part docuseries My Name is Reeva: I was Murdered by Oscar Pistorius.

Also, dramas that tell a universal story, even if they are local in style, are also in high demand. For example, our new series Cuba Libre which tells the extraordinary biographical story of the life of [Portugal’s] Annie Silva Pais. She abandons her Swiss diplomat husband to give herself to the Cuban revolution. Audiences internationally can resonate with her spirit of rebellion and frustration with the society she lives in.

What are the key issues that you're facing today in your daily job, regarding rights negotiation?
FW: Second windowing is becoming more and more challenging with buyers wanting all rights, whether they use them or not. Exclusivity is still key for a lot of buyers and that can drive the price point and make or break a negotiation. Players are wanting more rights and longer terms in order to protect themselves in the future. Furthermore, often streamers and platforms have a wider territory remit, which has grown over the last five years or so.

What is your strategy to be on top of fresh quality Nordic series, when streamers are aggressively picking up global rights, squeezing out indie distributors?
FW: We have an excellent acquisitions team, specifically Anke Stoll, who stays close to the Nordic commissioners and has wonderful relationships with numerous Nordic producers. As a result, we are ahead of the pack when it comes to finding new Nordic talent and securing acquisition rights to great local language content like Glassriver’s Journey, Monster Scripted’s Pørni and Furia – which they co-produced with X Filme Creative Pool, FLX’s Happy at Sea, Art & Bob’s Film & Drama’s Dreaming of England, and Solar Republic’s Pillow Talk.

Justus Riesenkampff, Executive Chairman Beta Nordic Studios

What will be your Nordic highlights at MIPCOM?
JR: Estonia produced by Fisher King is our Scandinavian highlight. The event series is one of the most demanding and aspiring production coming out of Scandinavia to date. Framed around the investigation carried out by the Joint Accident Investigation Committee (JAIC), established by Sweden, Estonia, and Finland, the series shines a light on different angles of the life-shattering accident. Set out to finding the cause for the sinking, it remains subject to speculation until today.

With its unique approach and contemporary way of storytelling, the eight-parter sets new standards for Scandinavian productions. Also, Estonia reunites great talents such as award-winning Swedish director Måns Månsson (Snabba Cash, Chernobyl), Finnish director Juuso Syrjä (Bordertown, Helsinki Syndrome), as well as the Finnish cinematographer Jani-Petteri Passi (Chernobyl, Compartment No. 6).

We also have our spring line-up spotlight productions such as the medical drama series The Shift by Lone Scherfig, Agent Hamilton II based on the iconic novels and characters by best-selling Swedish author Jan Guillou, and Helsinki Syndrome with Peter Franzén

What type of shows (genres, formats) are in high demand these days and how does Nordic content fare, compared to other foreign language scripted content?
JR: The competition in the non-English segment is high, and still Nordic content is of great demand internationally. Also, it experienced an incredible development in the past years, which has opened new doors to explore. One of those unexpected opportunities is Seven.One Entertainment Group (parent company of ProSieben) joining our drama series Estonia as the German partner, marking the starting point of a great collaboration with Beta.

What are the key issues that you're facing today in your daily job, regarding rights negotiations?
JF: First window is king in Scandinavia and that more than in other territories, where there is a coexistence between pay and free windows. With our Beta Nordic Studios companies, we are trying to lift ever greater budgets in the future and therefore it would be key that Scandinavian networks collaborate also on the commissioning side; like for example Sky and Degeto collaborate on financing Babylon Berlin. Otherwise, it will be difficult for Scandinavian productions to compete on the highest international level.