SEÑAL NEWS 254 | NEM 2026

DR SALES STRENGTHENS ITS DISTRIBUTION FOOTPRINT

ORF AND THE GLOBAL POWER OF EUROPEAN DRAMA

Others

44

CTV

FILMBOX

CTV ADVERTISING REVENUE WILL INCREASE FROM $44 BILLION IN 2025 TO $81 IN 2030.

26%

50%

AMAZON, NETFLIX, AND GOOGLE WILL COLLECTIVELY CONTROL 50% OF THE GLOBAL CONNECTED TV (CTV) ADVERTISING MARKET BY 2030, ACCORDING TO RECENT STATS FROM OMDIA.

BY THE END OF THE DECADE, GOOGLE IS FORECAST TO COMMAND 26% OF GLOBAL CTV ADVERTISING.

Omdia’s research also highlights significant changes in the European TV operating system landscape. Vidaa is set to become Europe’s third-largest TV operating system this year, following Android TV and Tizen, overtaking several established competitors.

LAUNCHES

LINEAR AND STREAMING GLOBAL REBRAND

FilmBox, a flagship brand within SPI International’s global portfolio, will implement a comprehensive transformation starting June 10, introducing a new strategic framework across its linear channels and streaming service. The refreshed portfolio will include FilmBox+One, FilmBox+Love & Crime, FilmBox+Hits, FilmBox+Emotion, FilmBox+Action, FilmBox+Comedy and FilmBox+Festival. The change also introduces FilmBox+Stream, the newly renamed streaming service. ∙

KESHET TAPPED SALOMÉ PEILLON

Keshet International has appointed former Faraway Road and Armoza Formats executive Salomé Peillon as its new Senior Vice President of Business Development. Reporting

to Keshet International CEO Keren Shahar, Peillon will be responsible for shaping longterm strategic planning, driving commercial growth, and overseeing global content partnerships and rights management. She will also provide maternity cover for Kelly Wright, Keshet’s Managing Director of Distribution. ∙

MOVISTAR PLUS REORGANIZES ITS CONTENT STRUCTURE

Spain’s Movistar Plus is entering a new phase under the leadership of Alfonso Gómez Palacio. The content division will be led by Juan Andrés García Ropero, who will oversee the strategy and development of films, series, documentaries, programs, and new original production formats. The content division will be organized into four units: Originals Movistar Plus, led by Bruna Hernando, integrating original Fiction and Non-Fiction Series; Spanish Cinema, led by Guillermo Farré; Editorial Development/Acquisitions, led by Iñigo Trojaola; and Entertainment, led by Hugo Tomás. ∙

TALPA STUDIOS’

“THE HOUSE OF HIDE & SEEK” TO BE ADAPTED IN SPAIN BY RTVE

Talpa Studios closed the first international adaptation of its family entertainment format “The House of Hide & Seek”. Public broadcaster RTVE in Spain has commissioned a local version of the format ahead of its domestic launch in the Netherlands on May 9. “The House of Hide & Seek” was created and developed by Talpa Studios, David Grifhorst and FOX Entertainment Studios. The Spanish adaptation will be produced by RTVE in collaboration with Warner Bros. ITVP Spain and Talpa Studios, with recording set to take place soon in the Netherlands. ∙

VIAPLAY SOLD 60 TITLES ACROSS THE CEE REGION

Viaplay Content Distribution has closed 60 title deals across Central and Eastern Europe in recent months. Among the headline scripted deals, CME has secured exclusive premieres of critically acclaimed dramas “A Life’s Worth”, “Mafia”, and “Golden Boys” for RTL and VOYO across Croatia, Serbia, and Bosnia and Herzegovina, alongside “Beforeigners,” “Vanguard,” and “Success.” Prima Group licensed “The Sleepers” for its linear channels, while STVR in Slovakia has picked up multiple scripted titles including “The Sleepers” and “Hilma”. Further acquisitions include “The Commoner”, picked up by Česká Televize, Telewizja Polska and Duna / M5, while Warner Bros. Discovery Baltics has licensed “Who Shot Otto Mueller?”. ∙

SKYSHOWTIME AND TELEWIZJA POLSAT PARTNER ON A NEW POLISH ORIGINAL SERIES

SkyShowtime and Telewizja Polsat closed a new partnership on original crimecomedy series “Genialna M.”, starring Agnieszka Dygant. The show is based on the French format “H.P.I. – Haut Potentiel Intellectuel”, created by Nicolas Jean, Stéphane Carrié and Alice Chegaray-Breugnot, based on an original idea by Nicolas Jean. The format was produced by Septembre Productions and Itineraire Productions, and is licensed by Studio TF1. First launched in France in 2019, it quickly gained widespread popularity, leading to multiple international adaptations, including a US version. ∙

INTER MEDYA SOLD “HALEF” DRAMA TO ITALY, ROMANIA, AND HUNGARY

Inter Medya has announced the latest international expansion of its hit drama “Halef,” securing new licensing agreements with major broadcasters in Romania and Hungary. The series enters the Central and Eastern European region with strong momentum, having consolidated its position as one of Turkey’s most-watched dramas of the season. Moreover, “Halef” has secured a new licensing deal in Italy, which further strengthens Inter Medya’s distribution portfolio. “Halef” has achieved notable sales success across multiple territories, reaching audiences throughout the MENA region, Europe, and Latin America. ∙

 Armin Luttenberger

ARMIN LUTTENBERGER , HEAD OF DEPARTMENT CONTENT SALES

INTERNATIONAL AT ORFENTERPRISE, BREAKS DOWN THE SUCCESSFUL RECEPTION OF ITS FIRST PORTUGUESE COPRODUCTION, “JONES,” AND THE COMPANY'S EVOLVING STRATEGIC ROLE WITHIN THE CEE MARKETPLACE.

As the international content landscape continues to demand high-quality stories that can cross borders, public broadcasters and independent distributors are redefining how they build creative alliances. At the center of this movement is ORF-Enterprise, the commercial arm of Austria's public broadcaster, will attend NEM 2026 with a diverse slate of market-ready content designed to bridge regional needs with global production standards. Armin Luttenberger, Head of Department Content Sales International at ORFEnterprise, spoke with Señal News about the strong market response to their latest co-production venture and the ongoing evolution of the Central and Eastern European entertainment market.

ORF-Enterprise presented "Jones" at the recent Content Europe. How was the feedback from global clients?

"The reaction to 'Jones' was very tangible: buyers understood the proposition quickly, and the discussions went beyond

“EUROPEAN DRAMA CAN TRAVEL WHEN IT COMBINES GENRE AND A DISTINCT CREATIVE EDGE”

curiosity into concrete positioning, windowing, and partner fit. For us, that is the real indicator of traction. As our first Portuguese collaboration, it also proved an important point: premium European drama can travel when it combines a recognizable genre engine with a distinctive creative edge and the right partnerships. Does this reinforce our direction? Yes, while remaining highly selective. We are not chasing co-operation for the label; we pursue it when there is clear crossborder potential and when we can add value early, as a connector between strong local producers and international demand. 'Jones' strengthens that conviction and encourages us to keep building pan-European alliances with focus rather than volume."

How has the company’s position in the CEE market evolved over the years?

"NEM has always mattered to us because Central and Eastern Europe is, in many ways, a relationship-driven market, built over years of trust, consistency, and responsiveness. Over time, our position has evolved from being primarily a supplier of finished content to becoming a more strategic partner: aligning titles with increasingly complex channel–streaming ecosystems, advising on windowing realities, and helping buyers find content that cuts through in competitive schedules. In terms of demand, we see a clear duality. On the scripted side: premium, clearly placeable crime and investigation remains a core

need, ideally with a strong hook and returnability. Alongside that, buyers continue to value dependable brands that can anchor schedules while still working in catch-up and on platforms. On the factual side, high-end nature and history, where quality, credibility, and production value are immediately visible, continue to perform strongly across the region."

While YouTube is increasingly seen as an ally for broadcasters, how does ORF-Enterprise balance its role within its global distribution and digital strategy?

"It is hard not to see YouTube as highly relevant, primarily because of reach and discoverability. It can be a powerful layer for expanding visibility, connecting with audiences that traditional windows do not always reach efficiently, and building momentum around brands and IP. At the same time, we are very clear-eyed: reach and monetization are not the same thing, and YouTube requires careful evaluation on a title-by-title basis. Our approach is therefore rights-and-partner-sensitive. Where YouTube adds value, it can be used strategically: often as a promotional environment or a complementary window under clearly defined rights structures and commercial expectations. Where it risks undermining premium value or control, we protect the core business model. In short: YouTube is part of the conversation, but it is not a default solution."

By Romina Rodríguez

“AI IS A TRUE GAME-CHANGER FOR HISTORICAL DOCUMENTARIES”

For Balanga, the current state of the content distribution industry is marked by a return to a balance after a decade of overproduction. However, this adjustment period is being complicated by shifting audience habits and the rise of global digital giants. Despite these challenges, the company is betting on high-concept, next-generation documentaries to capture the attention of global buyers. “It is quite a tough time. I think several factors indicate the business is declining now. For the last ten years, we have been in a state of overcapacity of production. Now, we are just getting back to the balance,” Christophe Bochnacki, President of Balanga, observed.

To break through this challenging market, Balanga is presenting two ambitious projects



CHRISTOPHE BOCHNACKI, PRESIDENT

OF BALANGA, DISCUSSES THE INNOVATIVE USE OF AI IN ANCIENT HISTORY STORYTELLING, THE PRECARIOUS STATE OF THE TRADITIONAL DISTRIBUTION MODEL, AND THE DANGEROUS INFLUENCE OF YOUTUBE ON CONTENT FINANCING.

that use AI-driven reenactments to create immersive experiences. First, “Beasts of the Colosseum,” which explores the little-known logistics behind the Roman animal trade and its role in the first human-driven wildlife extinctions. “It’s an amazing story of how Romans used wild animals for entertainment. It refers to the moment when nature stopped being simply observed and began to be staged, dramatized, and consumed as entertainment,” says Bochnacki. The title is produced by Ah! Productions and Adline for Novo19, and it had its world premiere out of competition at the Cannes World AI Film Festival.

The second highlight is “Odysseus, the First Hero,” produced by Ah! Productions for RMC Découverte, which provides a fresh investigative look at Greek mythology. The project is strategically timed to coincide with interest surrounding an upcoming Hollywood production. Both titles rely on AI to enhance the narrative.“AI is a true game-changer for historical documentaries. It allows us to take viewers on an immersive journey through time. However, AI must remain a tool in the service of storytelling and should never compromise editorial integrity,” Bochnacki stated.

THE YOUTUBE DILEMMA

A significant portion of Bochnacki’s review of the current market centers on YouTube's role. While he acknowledges the platform's ability to reach younger audiences, he warns of its impact on the industry’s financial health. “YouTube is taking more and more place in the industry, but they are not financing any new content. This is a real danger for all of us. They are destroying the traditional model by selling advertising at a third of the price charged by historical broadcasters. Yet, it is still the traditional broadcasters that finance over 90% of the content,” he warned. For Bochnacki, the solution requires a structural change. “I believe that, one day, YouTube will have to come and co-finance content. They are the biggest screen in the world, and they have to participate in funding new content”.

After attending Content Europe, where the company met with a mix of established broadcasters and new digital players, Balanga is looking toward Eastern Europe and the summer market circuit. “We are heading to NEM Dubrovnik for the first time. I have heard a lot of good things about it, and we want to explore and meet new clients in Eastern Europe,” Bochnacki said. Following the Croatian market, the company will continue its presence at Sunny Side of the Doc and UniFrance Rendez-Vous in Le Havre.

By Romina Rodriguez

PAPRIKA STUDIOS: SUCCESS FROM CROATIA TO COLOMBIA

IN TIME FOR NEM'S ANNIVERSARY EDITION, PAPRIKA STRENGTHENS ITS FOOTPRINT IN CROATIA, WHERE IT HAS OPENED A LOCAL OFFICE AND, TOGETHER WITH THE CMEOWNED RTL CROATIA, RELAUNCHED THE LOCAL EDITION OF “COME DINE WITH ME.”

Whether developing original stories or adapting international formats, Paprika Studios has established itself as one of the CEE region's defining content producers. In time for NEM's anniversary edition, Paprika strengthens its footprint in Croatia, where it has opened a local office and, together with the CME-owned RTL Croatia, relaunched the local edition of “Come Dine with Me” (Večera za 5). The company’s productions span the whole region, with different styles and genres.

The Ruthless One – The Marinko Magda Story (Hungary)

Hungary's first genuine true-crime documentary series, “The Ruthless One – The Marinko Magda Story,” made a striking debut, winning over audiences and industry peers alike. On RTL+ Premium, the show posted stellar viewership numbers, drew a significant wave of new subscribers to the streamer, and took home several honors at the Big Picture Awards, one of the most prestigious accolades in the Hungarian media market. This in-house Paprika Studios production combines cutting-edge technology with rigorous investigative work. Alongside AI-generated illustrations and dramatic reconstructions of real events, one of the project's central ambitions was to shed light on a partly unresolved case that remains vivid in the country's collective memory. The show's success underlines that in the true-crime genre, striking visuals are no substitute for deep research, fresh narrative angles and powerful storytelling.

Less of a Stranger / Mniej Obcy (Poland)

Paprika Studios is also producing “Less of a Stranger” (Mniej Obcy), a biographical feature for Netflix. The film tells the story of Jan Borysewicz, founder and guitarist of the legendary Polish rock band Lady Pank. More than a musician's biography, the film captures an era in which rock music in Poland became a symbol of freedom and rebellion. At its core are the price of artistic freedom, the weight of political pressure and the liberating force of music. Netflix is targeting a premiere in the second half of 2026.

Most Wanted (Hungary)

Moreover, Paprika Studios has been named the exclusive regional production partner for Talpa Studios' “Most Wanted” format across Central and Eastern Europe. The show has emerged as one of the most successful reality formats of recent seasons, posting standout ratings and outperforming several major reality titles in primetime. A key driver of that success has been Paprika's role not merely as a producer but also as a creative force, enriching the original format with a series of production and creative refinements. The collaboration has since grown into an exclusive partnership between Talpa Studios and Paprika Studios, covering not only regional production rights but also the format's ongoing development and localization. The project illustrates how Paprika Studios has moved beyond service production to become a significant creative development partner on the international television stage.

I’m a Celebrity… Get Me Out of Here! (Hungary)

Following the 2022 shoot, Paprika Studios is returning to Colombia's Rio Claro Valley to produce “I’m a Celebrity… Get Me Out of Here!” for RTL Hungary. This time, it is collaborating with ITV Studios to establish a production hub, in a partnership that reflects the growing international appetite for the format, with several clients from Europe and North and South America currently in negotiations to participate. Beyond the location itself, Paprika is providing the complete filming infrastructure, game development and production services, as well as part of the crew on the ground, enabling participating broadcasters to realize the format in the most cost-efficient way possible.

From Hungarian true-crime series to reality shows filmed in the Colombian jungle, from Netflix biopics to groundbreaking format partnerships, what connects every Paprika Studios production is an uncompromising commitment to doing things differently. The company has always believed that exceptional content demands exceptional people: creative risk-takers willing to push boundaries, try the untried and bring bold ideas to life. That spirit of ambition and craftsmanship is what has shaped Paprika Studios into the company it is today, and what will continue to drive it forward.

By Diego Alfagemez

DR SALES STRENGTHENS ITS GLOBAL PRESENCE THROUGH PS FORMATS

SALES EXECUTIVES ANDREA OSLEV AND CAMILLA MARIA SAABYE BJERREGAARD

DISCUSS THEIR CURATED CATALOG, WHICH REVITALIZES "OLD GOLD" TITLES ALONGSIDE FRESH LAUNCHES, FOCUSING ON CONTENT THAT SPARKS PUBLIC CONVERSATION

AND ADAPTS TO MODERN DIGITAL TRENDS.

DR Sales entered a new era with the launch of PS Formats, a dedicated brand designed to scale its IP strategy and meet a growing global demand for high-quality formats. "We created a new catalog where we have the hot and proven formats alongside fresh titles that received a lot of attention at MIPCOM," explained Andrea Oslev, Format Sales Executive. The move reflects a broader shift within DR Sales to move format sales from a side business to a core operation, encompassing both unscripted and scripted. Camilla Maria Saabye Bjerregaard, Lead Format Sales Executive, added that their strategy is not about volume, but about a curated

slate. "One of our main strategies is to have content that makes people start conversations. It has to spark dialogue

episode, a comedian is sent to the fringes of society (socially, geographically, or culturally) where they are immersed for 48 hours, meeting locals and uncovering untold stories, culminating in a stand-up performance inspired by real encounters. The format has generated more than 450 local episodes and adaptations across markets such as Spain, Portugal, and Canada, among others. After years of being managed by external agents, the format is back in-house. "This is the first time we are out pitching it since 2017," said Oslev, noting how comedy can bring people together.

in local countries and globally if we can," she stated.

One of the standout pillars of this new strategy is a revitalized focus on music. Leading that focus is "The Poplab," which aired in Denmark last month. In this "creative laboratory," three talented producers compete to create the next big hit for a high-profile guest artist. The show explores the tension between artistic creativity and commercial appeal, as producers work under pressure to compose and arrange a track that wins over the artist. The Danish version features the pop star Andreas, who helps emerging artists transition their mindset toward creating commercial pop hits within a two-day intensive session.

On the social experiment front, DR Sales is highlighting "We, the Jury." The format explores whether 12 ordinary citizens can reach a unanimous verdict in a trial setting when faced with complex legal cases. "There’s a lot of cancel culture where people are quickly canceled based on a headline. The creative team wanted to put that in a trial setting. The unscripted part is that the jury is made of real people with their own beliefs, and they have to decide if a person is 'canceled' or not." The format aims to provide a deeper view of justice beyond the surface-level noise of social media,” Oslev noted.

The PS Formats catalog also brings back "old gold," such as "Comedy on the Edge," an entertainment comedy show that has aired for nine seasons in Denmark. In each

MARKET DEMANDS

Regarding market trends, Oslev observes a dual demand for light entertainment and historical context. While comedy and bingeable light formats are thriving because "people just want to have fun," given the current state of the world, there is also significant interest in titles like "The Story of Denmark". This documentary-drama hybrid, where the host acts as a time traveler, has already been adapted in the Netherlands, France, and Belgium.

While PS Formats marks a new chapter, DR Sales has been working strategically with scripted formats for several years, building the expertise and partnerships needed to extend the lifecycle of its IP, with three international adaptations already produced. The transition to a core business model is already yielding high-profile results. "Cry Wolf" is being adapted as an FX show starring Olivia Colman and Brie Larson, set to debut this fall. With 16 active options, Bjerregaard explains that they are now looking beyond traditional fiction, extending their reach into documentaries and podcasts that can be adapted into fiction and theatre. "We just won an Oscar with 'Navalny' (Mr. Nobody Against Putin), and we work on documentaries that can be adapted to screenplays," she explained. The goal for 2026 is clear: to breathe new life into their extensive library and ensure that the "public service" spirit of Danish content continues to travel and resonate worldwide.

By Romina Rodríguez

THROUGH A STRATEGIC PREMIUM OFFERING BUILT AROUND “THE MOONBUG CHANNEL” AND “BLIPPI & FRIENDS”, THE GLOBAL POWERHOUSE SOLIDIFIES ITS INTERNATIONAL FOOTPRINT BY STRUCTURING HIGHENGAGEMENT PRESCHOOL CONTENT THAT SEAMLESSLY INTEGRATES INTO THE DAILY RHYTHMS OF MODERN HOUSEHOLDS.

Moonbug Entertainment has become a safe and entertaining space where children and families can enjoy premium content. Its linear channels are now available in more than 100 countries, and by expanding the reach of its dedicated networks, "The Moonbug Channel" and "Blippi & Friends", the entertainment company continues its mission to inspire children everywhere to laugh, learn, and grow. "Especially with a preschool audience, our linear channels can be a valuable tool for young families trying to establish healthy routines," said Dilek Doyran, Head of Channel Partnerships EMEA, Moonbug Entertainment. "Whether it is bedtime, mealtimes, or brush-yourteeth moments, our programming is designed to reflect and support the rhythms of daily family life. By creating content that seamlessly integrates into daily family life, we deliver experiences that help children learn and grow through

MOONBUG'S LINEAR CHANNELS, AN EMPIRE THAT TRANSFORMS FAMILY ROUTINES

play. This focus on engagement is a key reason why Moonbug's channels continue to see year-over-year growth for our partners."

Moonbug’s linear channels are uniquely engineered to serve as a supportive tool for parenting. Programmed specifically for preschool audiences and their parents, "The Moonbug Channel" features a lineup structurally designed to support everyday family routines from morning through bedtime. The channel boasts a powerhouse roster of globally recognized series, including "CoComelon", "Blippi",

"Little Angel", "Gecko's Garage", "Morphle", and "Oddbods." Named after Moonbug's top-rated liveaction preschool sensation, "Blippi & Friends" is a 24/7 channel tailored for children aged 4 to 8, with dedicated programming for younger toddlers. The channel hosts a robust lineup of hit shows, including “Blippi” and “Meekah.” To deepen its connection with young audiences, “Blippi” delivers daily, bespoke messages to viewers that promote positive behaviors such as physical activity, healthy eating, and a lifelong passion for learning.

GLOBAL MOMENTUM

The channel expansion follows a year of continued global momentum for Moonbug, marked by new international partnerships, franchise collaborations, and original content launches. Most recently, the company announced a partnership with Sanrio that will bring beloved characters, including "Hello Kitty" and "Cinnamoroll," together with "CoComelon" in a new crossover content initiative set to launch in 2026. The company also recently announced the starstudded cast of the "CoComelon: The Movie," releasing in theaters on February 19, 2027, alongside the launch of the new preschool spin-off series "Emmie’s Wonder Wardrobe" on YouTube which debuted this April as a spin-off of "Little Angel," one of the most-watched preschool brands in the world with over 150 million YouTube subscribers and 1.4 billion monthly views across 25 languages. Moonbug's channel expansion is fueled by the unprecedented global success of its core intellectual properties, such as "CoComelon". Celebrated as a go-to resource for millions of parents, the series uses songs and storytelling to help children navigate developmental milestones, social-emotional learning, and foundational skills such as colors, shapes, numbers, and letters. By turning the real world into a giant playground, "Blippi" sparks global curiosity. The brand empowers early childhood development through real-world adventures that make accessible education inherently fun and relatable.

By Romina Rodríguez

"WE MAKE EVERYTHING AS EASY AS POSSIBLE FOR OUR CLIENTS"

Maria Kivinen

MARIA KIVINEN,

DIRECTOR

OF SALES AND CO-PRODUCTIONS AT NORSE

KEY

DISTRIBUTION, DISCUSSES THE SUCCESS OF "SNEAKERMANIA" AFTER ITS CANNESERIES NOMINATION, HIGHLIGHTS A DIVERSE SLATE OF YOUTH AND KIDS PROGRAMMING, AND OUTLINES HER STRATEGY TO NAVIGATE LOCALIZATION HURDLES AND TIGHTENING BUDGETS IN THE INTERNATIONAL MARKET.

After its first ten months of operation, Norse Key Distribution is establishing a firm foothold in the global market by prioritizing authenticity and modern formats. A prime example of this success is "Sneakermania," a live-action series produced by Helsinki-filmi that debuted on Finland’s Yle in February 2026. The show, which follows two young rivals vying to host a major sneaker festival, earned a prestigious short-form nomination at Canneseries.

Maria Kivinen, Director of Sales and Co-productions at Norse Key Distribution, explains that the sneaker community is a uniquely compelling world that attracts both underground enthusiasts and a broader youth demographic up to age 35 through high-quality design. “The series is currently being offered both as readymade content and as a script for local adaptations,” she commented.

Beyond traditional formats, Kivinen is showcasing "Red Flag," a groundbreaking vertical drama developed by Percy Percy for VRT MAX and TikTok. Through 28

short episodes, the series uses the visual language of a smartphone screen to depict a student’s obsessive intrusion into an executive’s digital life. This innovative approach to storytelling is complemented by a strong lineup of Finnish youth content, including "Royalty," a satire about the pressures of social media perfection, and "Bro," which explores the risks of a teenager’s quest for influencer status. The slate also includes "Kiddos," a series that uses the world of children's soccer to explore interpersonal relationships among pre-adolescents.

Regarding the current content market, Kivinen identifies localization and shrinking budgets as the most significant challenges. She observes that buyers in major territories such as France and Germany increasingly demand fully dubbed material, placing a

financial burden on distributors. Norse Key’s response is to act as a "silent operator" for the client, taking on the localization process to make the acquisition process as seamless as possible. "By strategically using ‘windowing’ to coordinate sales across multiple regions, we are able to fund these localized versions and expand their reach," she explained.

Looking toward the second part of the year and MIPCOM, the company plans to unveil several coproductions and pre-sales currently in development, continuing their mission to provide well-packaged, specialized content for the global stage.

By Romina Rodríguez

LA SCREENINGS 2026

SHOOTING LOCATIONS MARKETPLACE 2026

BOOSTS GLOBAL CONNECTIONS BETWEEN DESTINATIONS AND CONTENT

THE EVENT WILL HOLD A NEW EDITION IN OCTOBER, ORGANIZED BY FERIA DE VALLADOLID AND SPAIN FILM COMMISSION, CONSOLIDATING ITS ROLE AS ONE OF THE LEADING PROFESSIONAL MEETING POINTS FOR THE INTERNATIONAL AUDIOVISUAL INDUSTRY.

Shooting Locations Marketplace will hold a new edition on October 14-15, further consolidating its role as one of the leading professional meeting points for the international audiovisual industry. Organized by Feria de Valladolid and Spain Film Commission, the event has become a strategic tool for connecting filming destinations with producers, location scouts, and service companies, facilitating the activation of projects on an international scale. With a model focused on efficiency and return on investment, the marketplace responds to a growing industry need: generating qualified connections in a structured, agile, and results-oriented environment.

The driving force behind Shooting Locations Marketplace is its system of pre-scheduled B2B meetings arranged through a matchmaking platform based on shared interests. This approach allows participants to hold highly qualified meetings within a short period of time, reducing commercial processes that would normally take weeks or even months. During its latest edition, nearly 1,600 professional meetings were held, representing an 11% increase over the previous year, demonstrating the format's consolidation and its ability to generate real business activity. In addition, 86% of the meetings originated from mutual interests, reinforcing both the quality of the connections and their potential to evolve into concrete projects.

DECISION-MAKING, INFLUENCE, AND ACTIVATION CAPACITY

One of the event’s distinguishing features is the quality of its Hosted Buyers Program, which comprises professionals with direct decision-making authority when selecting destinations and activating productions. In the latest edition, 67 producers and location scouts from 11 countries took part, with a particularly strong presence from strategic markets such as the United States and the United Kingdom, both global benchmarks for the audiovisual industry.

The profile of the location scouts and producers who have already expressed interest in participating in the 2026 edition reflects the marketplace's high level and international reach. Their experience includes globally successful productions such as “Fantastic Four,” “Doctor Strange in the Multiverse of Madness,” “Aquaman 2,” “Barbie,” and “The Revenant,” as well as top-tier series including “Outlander,” “The Wheel of Time,” “The Terminal List,” “Silo,” and “FBI International.” These titles are joined by projects linked to platforms such as Netflix and Apple TV+ (“Here Comes the Flood,” “Murderbot,” and “Smoke”), as well as ongoing developments involving major franchises and new international series. This broad range of references confirms the presence of professionals experienced in large-scale productions, multi-platform projects, and internationally deployed shoots. The program's impact is reflected in a significant figure highlighted in the satisfaction surveys: 98% of participants reported obtaining useful information for the development of their upcoming projects.

BEYOND MEETINGS: KNOWLEDGE AND NETWORKING

The marketplace is built around a format that combines business opportunities, knowledge sharing, and professional networking. Alongside the meeting area, the event includes an open networking space designed to encourage spontaneous connections, as well as a conference program featuring international experts. The agenda addresses key issues shaping the industry's future, including sustainability in film production, tax incentives, and the development of local industry ecosystems, providing strategic insight for attending professionals. In the latest edition, the line-up of speakers at Shooting Locations Marketplace included more than 80 specialists from different professional backgrounds and nationalities.

By Diego Alfagemez