ATF 2021: What do global buyers want?

ATF 2021 gathered buyers from all around the world. Based on the interviews published at the market Daily News, Prensarioselected key buyers from APAC, MENA, Central Asia and Turkey that were part of ATF Online+ and highlighted their content needs.

Phoebe Tsai, Country Manager at Tencent Video (China): ‘For the Middle East and South America, we prefer finished products. For Taiwan, we prefer content in stages of development. As for genre, we are looking romance and comedy’. Abit Satya, Programming & Content Development Director at Transvision(Indonesia): ‘This 2022 we are looking to do things different, preferring a collaborative approach than the one-off buy. However, we are expecting to see the latest production content with fresh ideas, breakthrough concepts and shortest window’.

Sharon Moverman, VP ,Acquisitions & International Operations), Hop! Media(Israel): ‘We are seeking for pre-school shows that are entertaining, fun and carry a social, emotional or education angle. This strategy is due to why we are expanding our content catalog with fresh and new content’.Mansi Shrivastav, Senior VP & Head – Content Acquisitions & Partnerships at MXP Media (India): ‘Vicarious genres which offer an escapist entertainment like thriller, sci-fi, unconventional romances, or larger than life fantasies have worked well on our platform. We would also like to explore additional procedural dramas and look at stories that are appealing to female audiences as well’.

Ceren Ergenekon, Managing Partner at HECE Medya(Turkey): ‘We are in search of television series, films, and unscripted formats with spot for female-centric melodramas As for films are concerned, every genre is welcomed’.Vela Fidel, CEO at TV Channel Aqlvoy(Kazakhstan): ‘I hope to find new educational cartoons and TV shows that support children’s desire to learn about the world around them’.

Rabia Asif, Director, Strategy & Business Planning at Dot Republic Media (UAE): ‘We are looking to acquire Korea & Chinese dramas. We would like to explore revenue share models for YouTube and other AVOD platforms, where we will invest in dubbing and marketing of the content’.

Ryan Lee, Content Acquisition Executive at Sarawak Media Group(Malaysia): ‘We are looking for fresh and inspiring contents that can increase the engagement and ratings of our television broadcast as well as digital platform. That’s why we are focussed on content that showcases the beauty of Borneo, East Malaysia, and Sarawak’.Thao Nguyen, Content Acquisition at Galaxy Play JSC(Vietnam): ‘We are on the search for more partners that distribute Hollywood and Asian movies. Our top genres are action, adventure, and movies. We are looking for new and existing products in these genres’.

Nermine Mohamed, Head of Programming at Abu Dhabi Media Company(UAE): ‘We are looking to acquire animation, features, and games of the adventure, action, and comedy genres, for audiences in the 6 to 12 years demographic. At the same time, it is welcomed titles in all languages, with those dubbed in English a plus’.Yeni Priana Anshar, Director of Programming at NET TV(Indonesia): ‘We want to share that the company is looking to acquire content from all over the world for Indonesian audiences, and is open to exploring payment and licensing models’.

Tugba Bozkurt, Deputy Producer at TRT World(Turkey): ‘We want to acquire documentary films and series for two programming slots on our platform. Our priority for content that covers human interest, social impact, or environmental issues’.NazliAkaktan, Head of International Content at GAiN(Turkey): ‘Our content strategy is to bring innovative, brave, and fast-paced programming produced with [an] intelligent, artistic approach. We’re interested in series with well-known actors, series of broad genres from drama, action, comedy and fantasy, preferably not older than four years, targeting millennials and Gen Z’.

Zihar Zuhair, Head of Business / Consultant at Dhiraagu TV(Sri Lanka): ‘We are aim to acquire more content in the drama, crime, and kids’ genres. The preference is for revenue share models, but we are open to a one-off payment for a library of titles’.