According to the CNC and Unifrance, sales of French audiovisual programs reached €164.3 million in 2025, down from the high level recorded in 2024 (€209.6 million).

While the sector held steady in recent years despite already challenging international market conditions, exports of French audiovisual programs slowed in 2025 due to an increasingly strained economic environment: public and private broadcasters reduced their financial commitments; SVOD services streamlined their investments by prioritizing the commissioning of local programs; and buyers became more selective, focusing on safe bets.  

The total revenues of French audiovisual program exports—including sales, pre-sales, and co-production contributions—thus stood at €282.7 million—a decline of 28.1% from the record high set in 2024 (€393.0 million). In terms of pre-financing, the decline was more pronounced for pre-sales (down 59.3% from 2024, to €30.7 million) than for co-production contributions (down 18.7% to €87.7 million). Sales, meanwhile, totaled €164.3 million, down 21.6% from 2024.

Fiction, the leading genre in exports, ahead of documentary and animation

French fiction remained the leading genre in exports for the fourth consecutive year, with €54.9 million in sales, down 27.0% from 2024. Fiction accounted for a 33.4% market share of total sales of French works abroad. So-called “light crime” series such as Deadly Tropics, Bright Minds, Tom & Lola, and The Coroner increasingly drove buyer demand. Event-driven series, such as Samber and The Sentinels, were not to be outdone, however, and also attracted foreign broadcasters.

Documentaries held steady (-2.7% compared to 2024), with sales totaling €43.1 million. The genre became the second-largest in exports, with a 26.2% market share. French productions continued to be highly regarded abroad, particularly in the fields of history, current affairs (news and geopolitics), and science, despite growing challenges, notably the priority given to “event-driven” documentaries and the growing preference for more local themes.

Sales of animated programs declined again, reaching €32.2 million in 2025 (down 30.3% from 2024), representing a market share of 19.6%. For the first time, animation was the third-largest genre in exports for French audiovisual programs. The sector was the first to be impacted by the contraction of the international market and changing viewing habits.

Western Europe, the leading market for French works

Western Europe remained by far the leading market for French audiovisual programs, with €76.7 million in sales (down 15.3% from 2024), accounting for 46.7% of global revenues. North America regained its position as the second-largest export market, with an 11.5% market share and €18.9 million in sales (+14.7% compared to 2024), a rebound largely driven by the excellent performance of an international sales company operating in the region. Central and Eastern Europe became the third-largest export market with €12.2 million (-26.5%), representing a 7.4% market share. Finally, the Asia/Oceania region generated €8.7 million (-33.4%), representing a 5.3% market share—its lowest level on record.

Multi-region rights (including worldwide rights) totaled €38.4 million (-33.6%), with revenues primarily driven by animation (29.7% of these rights) and documentaries (21.9%).

In terms of rights types, free, ad-supported video on demand (AVOD) accounted for 14.3% of total audiovisual program sales, a sharp increase compared to 2024 (9.6%). However, this rise in AVOD was not sufficient to offset the decline in revenues generated by SVOD platforms. The share of non-linear rights thus fell to 34.8% of revenues in 2025 (40.9% in 2024), while TV rights (including “all rights” or “360 rights” sales) still accounted for the majority of export revenues, with a 54.4% market share.

French audiovisual programs present on linear channels and SVOD platforms 

At the same time, as Unifrance’s report shows, France maintained its third-place ranking in 2025—behind the United States and the United Kingdom (and as the top EU country)—in terms of the number of works broadcast on linear channels worldwide, while it ranked 7^th in terms of releases on SVOD platforms, behind English-speaking countries and Asia, which has carved out an exceptional niche in this distribution channel. What sets France apart is the richness and diversity of formats in its catalog of works; this is what makes French production so strong on the global stage, unlike other countries that offer a more limited number of titles, often originating from streamers’ original productions. 

Animation, along with children’s series, continued to hold a prominent place on television screens around the world—particularly in the United Kingdom and Brazil—where it accounted for the highest number of broadcasts on specialty channels. Notable hits include Miraculous, Grizzy and the Lemmings, and Pyjamasques.

Documentaries also continued to be well represented on television screens across the full range of their subjects—including Ancient Superstructures, D-Day: 100 Days for Freedom, as well as Miyazaki, Spirit of Nature and I Am Martin Parr. On SVOD platforms, documentaries were, in fact, the genre with the most recent releases.

When it came to fiction—both stand-alone films and series—at the top of the list were light crime and detective shows, such as Meurtres à…, Candice Renoir, and Profiling, which were hugely popular with audiences around the world. That didn’t stop programs such as Reckless Summer or The Bureau from also making their mark on the small screen.  

While witnessing a sharp decline in sales of French audiovisual programs in 2025 following particularly favorable post-COVID years, we also note that French productions held up rather well amid a deteriorating global economic climate, maintaining a central place in the global audiovisual landscape—particularly outside English-language production countries.

It should be noted that certain acquisitions and co-productions of French programmes are not included in the study, due to a lack of precise data from the production platforms regarding the valuation of the international component. The joint work carried out by the CNC and Unifrance to report on both turnover and market presence.

In this challenging context, France’s ability to produce content across all genres, covering a wide range of themes and narrative forms, remains undiminished. We must therefore ensure that the effective funding system, which has proven its worth, will be maintained, enabling France to be recognised as a leading producer and exporter of audiovisual content, whilst taking on board new trends and the realities of a changing market.

For the first time in its history, TGFM will host an open pitch event on October 28 in collaboration with IMAGICA GROUP. Ten of the selected projects will present their pitches directly to potential investors and partners, signaling a move towards more dynamic funding frameworks within the Asian market.

A major driver of this year’s selection is a newly established partnership with Frontières, the international genre film co-production market organized by Canada’s Fantasia International Film Festival. This collaboration introduces a dedicated Frontières Showcase to Asia, significantly increasing the presence of high-quality genre projects. The slate includes indigenous horror and near-future psychological thrillers from regions such as Thailand, Nepal, and Brazil. Notable entries include a body horror project by Brazilian director Gabriela Amaral Almeida and a Kyrgyz legend adaptation produced by Indonesia’s KawanKawan Media alongside emerging director Kevin Rahardjo. Acclaimed Singaporean filmmaker Boo Junfeng is also presenting a thriller, while Vietnamese director Diep Nguyen Hoang returns for a second consecutive year following her successful run at the Busan International Film Festival.

Animation maintains a strong presence with five projects. Highlights include an omnibus horror from the studio behind the Annecy-winning «The Violinist,» and «Back to Tomioka,» an adaptation of a French graphic novel exploring the Fukushima nuclear disaster. Japanese studios are well- represented, featuring new works by OLM animator Ayumi Moriyama and P.I.C.S. Additionally, the market’s ongoing collaboration with Italy’s Cinecittà brings three co-production projects, including
one involving Japanese director Takuya Uchiyama.

Out of the 24 projects representing 24 countries and regions, eight originated in Japan, featuring works from local directors like Yusaku Matsumoto and Akira Yamamoto. By integrating genre-focused showcases and open pitch formats, TGFM aims to accelerate the completion of diverse international co-productions and strengthen Tokyo’s position as a key hub for film financing in the Asia-Pacific region.

CANAL+ announced a new €980 million commitment to finance French and European cinema over the next five years, starting in 2028. The agreement, reached with French film organizations, extends until 2032 the exclusive window that allows the group to broadcast films just six months after their theatrical release.

The investment represents an increase of about €50 million annually compared to the previous commitment and consolidates CANAL+ as one of the main drivers of French cinema. The group allocated €2.25 billion to programming and production during the first half of 2026 and expects to close the year with spending of nearly €4.5 billion.

At the same time, the group continues to expand its IP strategy through STUDIOCANAL. Among its upcoming projects is Paddington 4, the fourth installment in a franchise that has already surpassed US$700 million in cumulative box office revenue across its three films. The new film will premiere on CANAL+ as the first television window in France.

This initiative thus combines the production, distribution, and exploitation of major intellectual properties, with European cinema as one of its main growth drivers.

ARTE Distribution has refreshed its offerings for the international market with a new lineup featuring content on current events, history, nature, science, culture, and society. Among the highlights is a collection dedicated to the United States, which explores various aspects of the country, from politics and society to its history and culture.

The catalog also includes titles such as The Gospel of Wealth – A Story of Capitalism, a three-episode documentary series that examines the construction of the so-called “American Dream” and the relationship between wealth, power, and democracy in the United States.

The French company is also preparing for its participation in the Rendez-Vous de Unifrance in Le Havre, which will take place from September 7 to 10. ARTE Distribution confirmed its attendance with a team consisting of Alec Herrmann, Joséphine Letang, Alexandra Marguerite, Audrey Kamga, and Franka Schwabe.

The market will once again bring together international buyers and French distributors for a four-day event, with business activities concentrated from Tuesday through Thursday.

France TV Distribution is expanding its lineup of current affairs documentaries with Meloni Rising, a 52-minute film produced by KM Production, a Banijay France company. The distributor launched international sales for the documentary during Sunny Side of the Doc, held in La Rochelle from June 22 to 24.

Originally titled Le Cas Meloni, the documentary was written by Anna Bonalume and directed by Bonalume herself alongside Jérémy Frey. The production features France Télévisions as the French broadcaster and traces Giorgia Meloni’s journey from her political beginnings to her rise to the helm of the Italian government and her growing influence on the European stage.

The film also highlights the contradictions surrounding the leader: her position as a figurehead of the European radical right, her ties to the Italian political tradition, and the policies she has promoted during her tenure. Through archival footage, testimonies, and analysis, it seeks to explain the key aspects of a phenomenon that extends beyond Italy’s borders.

For France tv distribution, this release reinforces its commitment to social and current affairs content with potential for international markets, while also leveraging the platform of one of the world’s leading global documentary festivals.

Gaumont and Good Hero are already working on Ballerina 2, the sequel to the 2016 animated film that follows Félicie, a young orphan from Brittany who travels to Paris to fulfill her dream of becoming a ballerina at the Opera. The new production is scheduled for a worldwide release in late 2029, ten years after the first installment.

Laurent Zeitoun and Gregory Ouanhon, co-founders of Good Hero, will once again lead the project as producers, while Zeitoun will also take on the role of director. Gaumont, for its part, will once again serve as distributor in France and internationally.

The first film was released in more than 100 countries and grossed over $130 million at the global box office, a performance that drove the decision to revive the franchise and expand its universe. In parallel with the feature film, Good Hero is developing an animated series based on the property, with British screenwriter Andrew Burrell, known for Disenchantment and the Danger Mouse reboot.

The project also reflects Gaumont’s strategy of developing content with international reach and leveraging its properties across various formats, from film to digital platforms. The company currently operates in five countries and works on feature films, series, animation, and documentaries.

Mediawan took a key step in its international expansion with the acquisition of The North Road Company, the independent U.S. studio founded by Peter Chernin. The deal, confirmed in January 2026, brings together two of the market’s leading independent players and significantly expands Mediawan’s presence in the United States.

North Road will serve as Mediawan’s hub for North America, retaining its teams, labels, and creative partnerships. Peter Chernin has joined Mediawan’s board and will remain associated with the company as non-executive chairman of North Road, while Scott Manson has taken over as CEO.

The transaction brings assets such as Chernin Entertainment, Kinetic Content, Words + Pictures, 44 Blue Productions, and North Road International into the French group. It also adds the operations of Karga Seven Pictures in Turkey and Perro Azul in Mexico, expanding Mediawan’s reach into strategic markets.

With this transaction, Mediawan further strengthens its ability to develop and scale IP, drive international adaptations, and generate new co-production opportunities in a market marked by the consolidation of major independent studios.

Major Japanese networks are actively transitioning from traditional domestic distribution to a global IP studio model, a shift that will dominate the market’s agenda. Nippon TV will detail its evolving co-production frameworks, highlighted by the joint development of the drama Merry Berry Love alongside South Korean media company CJ ENM. The broadcaster will also outline the integration of AI-powered video solutions, specifically its AiDi system, aimed at optimizing content workflows and accelerating the distribution of anime and entertainment formats across international markets.

TBS Holdings is expanding its international footprint through direct investments in Western markets and strategic Asian joint ventures. The company will break down its recent capital partnership with Hollywood’s Legendary Entertainment, as well as the operational structure of StudioMonowa, a joint venture established with CJ ENM and U-NEXT. Furthermore, TBS continues to monetize its physical competition formats globally, leveraging the integration of SASUKE (Ninja Warrior) into the Los Angeles 2028 Olympic Games framework and launching the multi-platform, skate-focused property KASSO.

Diversification beyond linear television is another core theme, driven by the Broadcast Program Export Association of Japan (BEAJ). Distributors are exploring alternative revenue streams to maximize IP lifecycle. Fuji Television, for instance, is transitioning its Run for Money variety format into a Virtual Reality Location-Based Entertainment (LBE) business. Simultaneously, regional broadcasters like San-in Chuo and Hokkaido Television are structuring self-funded IP projects and local content banks designed specifically for overseas syndication.

As the Asian audiovisual industry increasingly prioritizes cross-regional financing and multi-platform adaptations, the upcoming sessions at the Tokyo Metropolitan Industrial Trade Center will provide executives with practical blueprints for international IP licensing. Press accreditation and industry registrations remain open ahead of the October event.

The Taiwan Creative Content Fest (TCCF) unveiled the official selections for its 2026 Pitching sessions, scheduled for November 6-9 in Taipei. The announcement reflects a structural shift in the region’s audiovisual strategy, with international co-productions now accounting for over 60% of the projects led by or involving Taiwanese teams, highlighting a growing integration with international partners.

To support this collaborative framework, the market is introducing a revised financial incentive structure this year. Each of the four main pitching sessions will award a major prize of at least USD 30,000, pushing the total prize pool beyond TWD 10 million. Additionally, selected teams can access up to TWD 3 million in early-stage development support through TAICCA’s Creative Content Development Program. This model is designed to accelerate the integration of Taiwanese projects into the global financing circuit.

The Project segment outlines partnerships with established global players across different territories. Key developments include My Cringe Love Notebook, a co-production between South Korea’s CJ ENM and Taiwan’s YOOSONN Entertainment, and the sci-fi drama UFO Club, led by Japanese production company K2 Pictures. The US market is also participating through the action series Bang & Burn, produced in collaboration with actressGina Torres. Furthermore, the trend of localizing successful foreign formats continues with a Taiwanese adaptation of the Korean hit series Taxi Driver, spearheaded by the directing team behind The Victims’ Game.

Cross-media adaptation remains a central focus for the market’s strategy. Titles such as the feature film A Sketch in Scarlet and the series Leaf and Tree transitioned directly from TCCF’s Story segment—where they originally pitched as novels—into screen development. The animation slate mirrors this global integration, featuring projects like Cosmos Princess and Achugogo: Tale of the Spring Chaser, which involve creative talent with previous track records at Marvel, Toei Animation, and the animated feature Flow.

As TCCF opens its doors this November at the Taipei Nangang Exhibition Center, the event will aim to bridge these selected IPs with global investors, buyers, and distributors. The high volume of cross-border alliances indicates a maturing local market, positioning Taiwan as a strategic co-production partner for the broader Asian and Western audiovisual industries looking to develop and adapt original content.

The Taiwan Creative Content Fest (TCCF) announced its 2026 Pitching selections, revealing that over 60% of the featured projects are international co-productions led by or involving Taiwanese companies. The event, organized by the Taiwan Creative Content Agency (TAICCA), reflects a shift toward cross-border financing and development in the APAC region, particularly through partnerships with South Korea and Japan.

To support early-stage development and mitigate initial risks for international investors, TCCF has updated its funding structure. The market will now feature four main pitching sessions, each offering a major prize of at least USD 30,000. Additionally, selected projects qualify for TAICCA’s Creative Content Development Program (CCDP), which provides up to TWD 3 million for early development stages to accelerate market readiness.

The content slate emphasizes the adaptation of original IPs into film and television formats. Feature films such as A Sketch in Scarlet and the series Leaf and Tree are transitioning from literary works previously showcased at TCCF into screen development. The fiction lineup illustrates direct integration between Asian and Western production companies, featuring My Cringe Love Notebook, co-developed by South Korea’s CJ ENM and Taiwan’s YOOSONN Entertainment; UFO Club, led by Japan’s K2 Pictures; and the US-Taiwan action series Bang & Burn, produced by Gina Torres.

In the animation and documentary verticals, projects are similarly structured for global distribution. The animated title Achugogo: Tale of the Spring Chaser involves creatives with Marvel and Toei Animation experience, while the documentary Parachute Kids is directed by Academy Award nominee S. Leo Chiang.

TCCF 2026 will take place from November 6 to 9 at the Taipei Nangang Exhibition Center. The market aims to serve as a hub for regional creators to secure co-production agreements, pre-sales, and global distribution deals.

Opening the festival is Sukiyaki, a musical drama directed by Zeze Takahisa. The TOHO-distributed film chronicles the real-life collaboration between composer Nakamura Hachidai, lyricist Ei Rokusuke, and singer Sakamoto Kyu, the creative trio behind the 1963 Billboard-topping track. TIFF Programming Director Ichiyama Shozo highlighted the film’s focus on the cultural impact of these artists during Japan’s post-war recovery.

The centerpiece presentation will be Godzilla Minus Zero, the direct sequel to the Academy Award-winning Godzilla Minus One. Directed, written, and featuring VFX by Takashi Yamazaki, the project sets a technical milestone as the first Japanese feature shot in the IMAX format. The narrative explores a renewed threat hitting Japan two years after the devastation of the previous film. Shozo described the production as offering a new interpretation of the franchise that “far exceeds expectations”.

Closing the event is Colony, a South Korean action-thriller directed by Yeon Sang-ho, known for his work on Train to Busan. Following its recent premiere in a Cannes Midnight Screening, the film centers on a bioterrorism outbreak within a Seoul skyscraper. It brings a new approach to the survival genre by introducing an infected population operating with a collective intelligence.

These spotlight selections reflect TIFF’s strategy to showcase diverse, high-profile Asian cinema to global industry executives, distributors, and audiences. The 39th edition will serve as a key launchpad for these titles as they move toward their domestic and international theatrical releases between late 2026 and 2027.

Eight Japanese publishers, film studios, and animation houses will meet international producers to discuss global screen adaptations and remake rights in October.

TIFFCOM 2026 will host the second edition of the Tokyo IP Market: Adaptation & Remake (TIPM) from October 28 to 30 at the Tokyo Metropolitan Industrial Trade Center Hamamatsucho-kan, featuring its first cohort of eight major Japanese rights holders. Organized by UNIJAPAN alongside Japan’s Ministry of Economy, Trade and Industry (METI) and the Ministry of Internal Affairs and Communications (MIC), the platform addresses the rising global demand for Japanese original stories by connecting publishers, animation studios, and film production houses directly with international film and television producers.

The initial lineup of participating rights holders includes Amuse Creative Studio, Kadokawa, Nihon Bungeisha, Nippon Animation, Shochiku, Shufu to Seikatsu Sha, Square Enix, and Toei. The available catalogs span a broad spectrum of source material, including digital manga, light novels, legacy cinema archives, anime properties, and gaming franchises. This diversification allows international studios and streaming platforms to access primary rights across multiple genres, from high-concept thrillers and horror to family animation and live-action remakes.

Originating in 2023 as the Tokyo Story Market, the initiative expanded into TIPM in 2025 by incorporating film studios alongside literary publishers. In May 2026, the program established an international presence with a dedicated showcase at the Cannes Marché du Film under the banner Japan IP Market. The upcoming Tokyo event will feature structured one-on-one business matchmaking sessions and open pitching, designed to streamline rights clearance and facilitate international co-productions. As Toei indicated regarding its strategy for the market, the framework serves both “remake rights licensing and co-production opportunities” supported by dedicated international production teams.

TIFFCOM 2026 will run concurrently with the 39th Tokyo International Film Festival (TIFF). Registration and finalized program details will be released through official channels ahead of the event.

Tokyo IP Market: Adaptation & Remake (TIPM)

TIFFCOM 2026 confirmó las primeras ocho empresas participantes de la segunda edición del Tokyo IP Market: Adaptation & Remake (TIPM), que se llevará a cabo del 28 al 30 de octubre en Tokio.

La lista de propietarios de IP inicial incluye a Amuse Creative Studio, Kadokawa, Nihon Bungeisha, Nippon Animation, Shochiku, Shufu to Seikatsu Sha, Square Enix y Toei.

La plataforma busca conectar a casas editoriales, estudios de cine y productoras de animación con productores e inversores internacionales para negociar derechos de adaptación en pantalla, remakes y coproducciones.

La oferta abarca desde manga digital, novelas ligeras y licencias de videojuegos hasta catálogos históricos de cine y animación tradicional.

Organizado por UNIJAPAN junto con los ministerios japoneses METI y MIC, el mercado evoluciona tras su presentación en el Marché du Film de Cannes en mayo de 2026, respondiendo a la creciente demanda global de contenidos originales japoneses para plataformas de streaming y cine.

The Taiwan Creative Content Agency (TAICCA) continues to consolidate Taiwan’s position as one of Asia’s fastest-growing content hubs through two major initiatives announced ahead of the 2026 Taiwan Creative Content Fest (TCCF). While preparations for this year’s market enter their final stage, the organization is simultaneously expanding the international reach of Taiwanese immersive productions through a strategic partnership with New York’s Museum of the Moving Image (MoMI).

The two announcements reflect TAICCA’s long-term strategy: supporting projects from their earliest development stages while creating sustainable international distribution opportunities.

TCCF Pitching raises its international profile

Scheduled for November 6-9 at Taipei Nangang Exhibition Center, TCCF 2026 is entering the final days for Pitching submissions, with applications closing on July 6.

This year’s edition significantly strengthens its international appeal. One of the major highlights is the participation of Dongha Lee, president of Red Peter Films and producer behind the global blockbuster Train to Busan franchise, who will personally mentor selected teams during the pitch training sessions.

Lee, whose career also includes the Cannes-winning Poetry and recognition by Variety as one of the world’s «10 Producers to Watch,» will guide creators through project positioning, presentation techniques and international market strategies before they pitch to global decision makers.

At the same time, TCCF has substantially expanded its awards program. New sponsors and increased prize money bring additional financial incentives across multiple categories, including feature films, series, documentaries, animation and story development.

Among the new initiatives are the HPCF Confluence Award, supporting stories that promote cultural understanding through Hakka values, the THSR Beautiful Journey Award, encouraging projects that connect communities across generations and regions, and several new prizes from organizations including Taiwan Mobile, the Animation and Visual Effects Association of Taiwan and the Mega Bank C&E Foundation.

Several long-time international partners also continue supporting the market, including France’s CNC, Italy’s FEFF, New Zealand’s Doc Edge and South Korea’s BIFAN, reinforcing TCCF’s growing international ecosystem.

Building a global pipeline

Beyond project development, TAICCA is also strengthening international exhibition opportunities.

The agency has signed a three-year partnership with New York’s Museum of the Moving Image, creating a permanent framework for presenting Taiwanese immersive experiences in one of the world’s most competitive cultural markets.

The collaboration follows the success of Portals of Solitude: Virtual Realities from Taiwan, whose 2025 presentation generated more than 3,000 screenings while maintaining nearly 90% daily capacity, demonstrating strong audience demand for Taiwanese immersive productions in North America.

«This collaboration gives Taiwanese work a stable platform in North America where revenue, audiences and institutional resources reinforce one another,» explained Sue Wang, Chairperson of TAICCA. «Our goal is to build a complete pipeline for original Taiwanese content—from early development to international exhibition and commercial success.»

The partnership opens with two acclaimed productions running at MoMI through September 6.

Proof As If Proof Were Needed, winner of the Special Jury Award at SXSW 2025, is an interactive installation co-produced by Taiwanese artist Ting-Tong Chang and British collective Blast Theory, exploring the breakdown of a marriage through an immersive domestic environment.

Meanwhile, Sense of Nowhere, created by artist Hsin Hsuan Yeh, follows a different path. Developed through TAICCA’s Villa Formose Immersive Program, the VR experience combines gesture-tracking technology with themes inspired by religion and Jungian psychology. After premiering in competition at the Venice Immersive Festival, it now reaches paying audiences in New York, illustrating TAICCA’s strategy of transforming funded development into sustainable international distribution.

From development to international markets

Together, the two announcements highlight TAICCA’s broader vision for Taiwan’s creative industries.

Rather than focusing solely on production funding or festival participation, the agency is investing across the entire value chain—from project incubation and international pitching at TCCF to long-term exhibition partnerships capable of generating commercial opportunities abroad.

With TCCF continuing to attract international buyers, producers and investors, and institutional collaborations expanding into key markets such as North America, Taiwan continues positioning itself as one of Asia’s most dynamic ecosystems for content creation and international co-production.

Taiwan made a strong impression at the 2026 Annecy International Animation Film Festival and Mifa, reinforcing its growing role in the global animation industry. Organized by TAICCA, the Taiwan Pavilion brought together 41 companies and 61 projects, attracting international buyers, producers, and distributors through a series of high-profile networking and pitching events.

One of the festival’s highlights was «Toon Up Taiwan!», where five animation projects developed through a nine-month collaboration with GOBELINS Paris were presented to an international jury. The top honor went to Hwa’s Going On, a stop-motion project by director Pin-Yu Chang, making it eligible for up to NT$3 million through TAICCA‘s Creative Content Development Program. Judges praised its artistic quality, original characters, and poetic storytelling.

Another milestone came with the debut of the TCCF Prize at the Mifa Pitches. The inaugural award was presented to Achugogo: Tale of the Spring Chaser, a French-South African-American co-production, creating a new gateway for international projects to collaborate with Taiwan’s animation sector.

The new TAIWAN SPOTLIGHT SHOWCASE also introduced five market-ready productions, including YAYA’S BAND, FLAMIE RANGERS, and PURINGAU, generating strong interest from buyers seeking licensing and co-production opportunities.

According to TAICCA Chairperson Wang Shih-szu, international partners are increasingly recognizing Taiwan not only for its creative projects but also for its reliable production ecosystem, positioning the country as an attractive hub for long-term global animation partnerships.

In a move to cater to an increasingly diverse and international subscriber base, the newly acquired episodes will be localized into multiple languages. Viewers will soon be able to access the content in English, French, Spanish, German, and Arabic, making the franchise highly accessible to families across various key markets and expanding its footprint in Europe, the Americas, and the MENA region.

The Fixies has firmly established itself as a leading educational property in the global children’s content market. The CGI-animated series follows the comedic and educational misadventures of Simka, Nolik, and their fellow Fixies—tiny, resourceful creatures who live inside household appliances, electronics, and gadgets. By secretly repairing broken technology while explaining the foundational science behind how everyday devices work, the show successfully blends engaging character-driven storytelling with core STEM (Science, Technology, Engineering, and Mathematics) concepts.

This expanded acquisition aligns seamlessly with Sandbox Group’s overarching content strategy for PlayKids Learning, which prioritizes safe, curriculum-enhancing, and skill-building entertainment for children. By integrating more episodes of The Fixies, the platform bolsters its offering of high-quality edutainment that appeals to both young viewers and their parents.

Set in a small town in northern Norway, deep in the heart of the Indigenous Sámi homeland of Sápmi, Shut Up (Oro Jaska) breaks new ground by unflinchingly addressing complex issues such as sexual assault, queer identity, and the silence that often surrounds these topics within tightly knit communities.

The narrative centers on Elli Anne, a young woman whose life is upended after she is raped. As she seeks justice within a community bound by tradition and family loyalty, the storyline takes a gripping turn when Issat, a celebrated snow cross racer, is accused. The allegation not only threatens his local reputation but forces him to confront his own closely guarded secret: he is queer.

The acquisition by Whakaata Māori highlights a strong cultural synergy between Indigenous broadcasters globally, facilitating the exchange of narratives that resonate across borders. A representative from the New Zealand channel expressed enthusiasm for the series’ upcoming broadcast, noting its deep alignment with their target audience:

‘Oro Jaska celebrates culture, language and identity at its core, while exploring the darker but extremely universal themes affecting rangatahi / youth all over the globe. I am so very looking forward to sharing this Sami language kaupapa with our Whakaata Māori and Māori + audiences and particularly with our rangatahi here in Aotearoa’.

Shut Up (Oro Jaska) marks a historic first for the region, serving as the first Sámi television drama of its kind to center social issues from within the community, told entirely by Sámi voices. Guided by the principle «Nothing about us without us,» the project was spearheaded by creators Silje Bürgin-Borch and Vegard Bjørsmo. The production prioritized narrative autonomy and cultural authenticity at every stage by assembling a writers’ room composed exclusively of young Sámi creatives, including queer voices.

The series is part of a rising global wave of acclaimed Sámi film and television projects—standing alongside titles such as Sámi Blood, My Father’s Daughter, Mácchan (Homecoming), Je’vida, and the 2025 Berlinale Series selection A Sámi Wedding (Heajastallan). These projects have benefited significantly from the advocacy and support of the International Sámi Film Institute (ISFI), which continues to champion Indigenous storytelling on the global stage.

The Sunny Side of the Doc announcement arrives as the drama garners broader international recognition, having recently secured a nomination for Best Limited Series at the prestigious 2025 Rockie Awards, part of the Banff World Media Festival held earlier this June in Alberta, Canada. As it prepares for its premiere in New Zealand, Shut Up (Oro Jaska) continues to amplify underrepresented voices and set a new standard for bold, authentic Indigenous television.

The announcement comes as the global animation industry gathers at the Annecy International Animation Film Festival, where Toonz is introducing the series to broadcasters, streaming platforms, and content partners from around the world.  

Created by animation veteran Dave Gallagher and produced under the AnimSchool Studios banner, MechWest has emerged as one of the animation industry’s most notable independent success stories. The CG-animated action-adventure series is set in the dieselpunk frontier world of Meridian, where coal-powered robots known as mechs are treated as disposable tools. At its heart is Pearl West, a compassionate but overlooked teenager who befriends Six, a mysterious mech carrying a dangerous secret. Joined by her cowboy brother Pico and quick-talking friend Casey, Pearl embarks on an adventure that could change the fate of an entire world. 

Targeted at kids aged 7–12 and family audiences, the series blends cinematic animation, action, humor, and emotional storytelling. To date, MechWest has generated more than 11 million lifetime views and earned multiple industry honors, including Gold and Silver wins at the Telly Awards and Gold and Audience Choice recognition at the Collision Awards. The series has also attracted coverage from leading entertainment and animation publications, further cementing its reputation as a standout independent production. 

‘Exceptional storytelling has always been at the heart of successful global entertainment, and MechWest is a powerful example of that’, said Viswanath Rao, CEO of Toonz Media Group. ‘What Dave Gallagher and the AnimSchool Studios team have achieved is remarkable, creating a visually stunning, emotionally engaging series that has already built a passionate audience through its own merit. We are delighted to partner with the team and help bring the series to audiences worldwide’.  

‘MechWest stood out immediately, the quality of the animation, the world Dave and the AnimSchool team have built, and an audience that’s already found it’, said Gulshan David, Vice President – Feature Films, Toonz Media Group. ‘What they’ve achieved is rare for an independently produced series, and we believe it has exactly what major global platforms and broadcasters are looking for. We’re thrilled to bring MechWest to the world stage starting at Annecy’. 

The partnership adds to Toonz Media Group‘s expanding portfolio of internationally distributed animated content. With more than 25 years experience across animation, live-action production, and global distribution, Toonz has built a reputation for bringing high-quality family entertainment to audiences worldwide. The company also operates a rapidly growing digit of al ecosystem that reaches millions of viewers daily through its YouTube network, VOD and telecom partnerships, and the recently launched MyToonz FAST channel, extending its direct connection with audiences across global markets. 

The series was written by Noah Gallagher and Clifford James Taylor, with a creative team that includes Galen Chu as Layout Director (Ice Age: Collision Course, Ferdinand) and Moroni Taylor as Head of Story (The Super Mario Bros. Movie, The Iron Giant, Despicable Me).» Together, the team brings decades of experience from some of animation’s most successful feature films and franchises. 

Dave Gallagher, creator of MechWest and Founder and CEO of AnimSchool, said, ‘We’re very excited to partner with Toonz Media Group for this next chapter of MechWest. Our team has made the series independently, one episode at a time, and it’s very rewarding to see the show resonating with audiences. Toonz brings so much expertise in international distribution and a genuine enthusiasm for the series. They share our vision for the show’s broad appeal, and this partnership gives us an opportunity to introduce the show to new audiences and expand its global reach’.

A defining aspect of MechWest is its innovative production model. The series has been produced primarily by recent AnimSchool graduates, demonstrating how emerging talent can deliver feature-quality animation outside traditional studio systems. The project has become a case study in the evolving economics of animation production, combining high-end visuals, creator-led storytelling, and organic audience growth. 

Founded by Dave Gallagher, AnimSchool (accredited ACCSC) is one of the world’s largest 3D animation schools, with a global reputation for training animation professionals and developing production-ready talent. Gallagher’s own credits include lead and supervisory roles on major animated feature films such as the Ice Age franchise, Rio, Robots, and Horton Hears a Who. 

The fantasy adventure, written and designed by production designer Geoff Taylor (Rocket Club, Super Monsters), centers on an overlooked Dragoon worker at the corporate monolith WizCorp. After a freak accident transforms him into a mighty dragon, the worker uncovers a devastating hidden truth: his kind were once the legendary rulers of the skies. Their legacy was stolen by Hex, a wizard-CEO who shrank the dragons, erased their memories, and siphoned their power to build his corporate empire. Alongside his best friend, the fiery hero must find the courage to rise against Hex, awaken his kind, and prove that even the smallest spark can light up the sky.

The project is spearheaded by a veteran animation team, including director and producer Shea Wageman, who also serves as President and CEO of ICON Creative Studio, and producer Carson Loveday, whose recent credits include Monsters at Work and Star Wars: Young Jedi Adventures.

During the festival presentation, Wageman emphasized the film’s core themes and the studio’s global distribution strategy. ‘Dragoons is about reclaiming your power and rewriting history’, Wageman shared in the announcement. ‘We’ve built a visually epic world where the smallest characters can spark the biggest revolutions. We’re thrilled to partner with Global Constellation to bring it to audiences worldwide’.

Founded in 2013 and headquartered in Vancouver’s historic Gastown district, ICON Creative Studio has scaled to become Canada’s largest independently owned CG animation studio. While widely recognized for delivering high-quality, full-pipeline animation services for industry giants such as Disney, Netflix, Apple TV+, Skydance, Warner Bros., Paramount, and Sony, the studio is now aggressively expanding its proprietary content. Dragoons represents a significant step in this direction, joining a slate of original productions that includes the recently released Charlie the Wonderdog, as ICON continues to lean into its holistic philosophy of combining storytelling, artistry, and technology to push the boundaries of CG animation on the big screen.

Tiny Terrors is a boldly conceived, character-driven entertainment universe centered on small yet extraordinarily expressive personalities that carry an outsized chaotic energy. Each character within the franchise is a sharp, exaggerated distillation of universally relatable human traits, ranging from obsessive food culture to the paralysis of chronic overthinking, rendered through clean, punchy visual designs engineered for contemporary digital audiences.

Conceived from inception as a cross-platform universe, Tiny Terrors is built to exist with equal vitality across both physical and digital environments, spanning animation, consumer products, publishing, and interactive gaming.

Redefining the Indian IP Model

Unlike traditional animated properties, Tiny Terrors was designed from the ground up with a toy-first philosophy—making it one of the few Indian IPs built for true cross-platform expansion:

The Tiny Terrors franchise ecosystem is structured across five core pillars:

•            Toys — A curated range of collectible plush figures, premium vinyl characters, and blind-box series designed for the collector and casual consumer alike
•            Animation — Short-form social content and episodic series with a distinctive comedic voice, developed for both domestic and international distribution
•            Publishing — Children’s books and illustrated narrative extensions that deepen and expand the Tiny Terrors universe
•            Gaming — Branded avatars, character skins, and purpose-built minigames integrated within leading platforms including Roblox and Minecraft
•            Merchandise — A comprehensive lifestyle product range encompassing apparel, accessories, stationery, stickers, and personal electronics accessories

The creative force behind

Vikas Kumar, Founder & CEO of Digitoonz and creator of Tiny Terrors, drew inspiration from years of working alongside his core studio team transforming real personalities, everyday chaos, and candid studio moments into a full-fledged entertainment universe.

Mike Parker, Music & Voice Director, brings sonic identity and comedic energy to the property, shaping the emotional and tonal core of the Tiny Terrors world through music, sound, and voice direction.

Gur Simran Kaur plays a pivotal role in translating creative concepts into engaging content and experiences, anchoring the youthful, high-energy identity of the brand.

The narrative backbone of Tiny Terrors is led by an exceptional writing team. Joe Vitale, writer and story editor, is a seasoned creative executive with credits spanning Disney, Nickelodeon, Netflix, Hulu, Amazon Prime, Warner Bros., Lionsgate, and Paramount+ and studio experience at DreamWorks Feature Animation, Little Airplane Productions, and Baboon Animation. He brings world-class expertise in crafting globally resonant animated storytelling for kids and family audiences.

Joining him is Yash Ghadia, a writer and stand-up comedian from Surat, known for his sharp humor, relatable voice, and punchy comedic style. Yash brings a fresh, youth-driven energy that gives Tiny Terrors its irreverent, culturally connected edge.

CMA Media’s streaming platform in France acquired a 250-hour content package heavily focused on the true crime genre. The agreement encompassed the eight-part series Cult Justice, produced by Law&Crime Productions in association with True Crime Network, as well as the first three seasons of Cold Blood, a 46-episode production by Cineflix for Investigation Discovery. The French platform also secured the third season of Homicide: Hours to Kill, produced for Hearst Networks EMEA, and seasons two through four of Crimes That Shook Britain, originally produced by Title Role Productions for Crime and Investigation Network UK and the Foxtel Group.

In the Canadian market, Bell Media acquired the three-part CNN Original Series Kobe: The Making of a Legend. Additionally, Quebecor Content secured the rights to 40 episodes of Top of the Block, produced by Scott Brothers Entertainment for HGTV Canada, alongside the 25-episode seventh season of Property Brothers, produced by Cineflix for HGTV in the US and Canada.

Addressing the acquisitions during the factual gathering, Ayala noted, ‘The event provided a practical venue to finalize sales for both new releases and established series, while allowing us to present our updated catalog to international buyers and producers’.

Alberto Buitron

Beyond video streaming, the brand maintained a strong presence on social media and audio networks during the same period. The official TikTok account registered 5.1 million followers and a monthly reach of 49.5 million, while its Facebook page had 3.5 million followers and a 5.1 million monthly reach. On Instagram, the franchise reached 954,000 users monthly with an audience of 587,000 followers. The musical content also drew 3.5 million listeners and 32.9 million streams on Spotify, alongside 1.6 million listeners and 14.1 million streams on Amazon Music.

The IP, targeted at toddlers and preschoolers, featured a central hero character accompanied by a group of peers—Nesho, Bam, Acuarella, Mei-Li, Hoggie, Tuni, and Wichi—alongside their preschool instructor, Ms. Arafa. The production catalog encompassed over 450 musical videoclips, regular episodes, and themed specials distributed in multiple languages. The content focused on early childhood education, utilizing music and narrative sequences to encourage play-based learning, socio-emotional development, environmental awareness, and the establishment of healthy daily habits. The programming was also structured to function as an educational resource for parents and caregivers.

The established Argentine animation company Spiritum, by Guillermo Pino, the creator and owner of the franchise, recently showcased these audience figures and project developments during its participation in the 2026 edition of the Annecy International Animation Film Festival and its corresponding MIFA market. Industry professionals and partners seeking further information regarding the property were directed to contact the studio via info@plimplim.tv.

Warner Bros. Pictures Animation (Warner Bros. Pictures Animation) made a major statement at the Annecy International Animation Film Festival, presenting its most ambitious showcase to date and introducing the creative vision behind its theatrical slate for 2026–2028.

Led by President and Chief Creative Officer Bill Damaschke, the studio unveiled a new logo, premiered the Looney Tunes short Daffy Season, and offered an extended preview of The Cat in the Hat, its first theatrical feature in this new chapter, set for release in November.

During the presentation, Damaschke emphasized WBPA’s commitment to an “artists-first” philosophy, highlighting a strategy that prioritizes creative freedom and distinct visual identities for every project. Drawing inspiration from the legacy of Termite Terrace—the historic birthplace of Bugs Bunny and Daffy Duck—the studio aims to combine innovation with storytelling rooted in heart, humor, and optimism.

The slate includes seven theatrical features and an original short, among them Bad Fairies, The Lunar Chronicles, Margie Claus, Oh, the Places You’ll Go!, Dynamic Duo, and the recently announced Hello Kitty. Annecy attendees also learned about projects currently in development, including Tom & Jerry, ThunderCats, Meerkats, and the original musical Prehistoria from creator Vivienne Medrano.

With more than 250 artists across 13 countries and a global creative network exceeding 1,200 collaborators, WBPA is positioning itself as one of the industry’s fastest-growing animation studios, combining original stories with fresh interpretations of iconic franchises.

Central to their announcements was the launch of «Wonderland Junior TV», a new FAST channel designed to bring premium European children’s and family content to U.S. audiences. This platform will provide viewers with free access to more than 1,700 episodes, leveraging Mediawan’s deep expertise in production and editorial curation.

The company is also aggressively expanding its digital-first footprint through key collaborations. Notably, Mediawan is partnering with Madbox to bring Pocket Champs, a successful French gaming IP, to life as a YouTube-first digital series. Launching in 2027, the project will feature four special episodes and is intended to scale into a 360-degree transmedia franchise, capitalizing on the IP’s massive global player base and social media traction.

On the cinematic front, Mediawan reinforced its presence in the market with four ambitious animated feature films currently in production, all aimed at a 2027 release. The slate includes Twisted, directed by Lino DiSalvo and co-produced with Palomar; the Dutch-South African co-production Spike; the Toon2Tango-developed PalutenFreedom, which brings the world of the popular German gamer to the big screen; and Wings of Freedom, a futuristic tale from studio Good Hero co-produced with Studiocanal.

The television and series pipeline remains equally active. The studio is launching Atta Slam, an action-adventure series led by Igloo Studio, and has commenced production on a 52-episode CGI series based on the Niko franchise, in collaboration with Toon2Tango and ZDF Studios. Furthermore, the company confirmed that projects such as Anansi, Artefacts: Thieves of Thieves, and Alexander Deliver are actively moving through development and production, ensuring a steady stream of high-quality content across diverse platforms.

Mediawan’s distribution arm continues to strengthen its library as well, acquiring new titles like the second seasons of Maddie + Triggs and Barn Kidz. The group is also deepening its strategic partnership with El Reino Infantil, announcing that The Little Prince and Friends will soon join the latter’s network, further expanding the reach of Mediawan’s premium children’s content into international markets.

Finally, the Miraculous universe remains a central pillar of Mediawan’s portfolio. With the sixth season currently airing and the seventh already in production, the brand continues to demonstrate long-term viability. The group also teased Miraculous Stellar Force, an original 2D anime-inspired spin-off scheduled for 2027 with Disney Branded Television, while celebrating the continued explosive digital growth of the Miraculous Chibi series, which has seen a 132% year-on-year increase in views.

After nearly a decade off-screen, LoliRock is making a highly anticipated comeback. Banijay Kids & Family and France Télévisions have officially confirmed a third season of the popular animated musical series, which originally became a global phenomenon after its debut in 2014.

Produced by Zodiak Kids & Family France in collaboration with Xentrix Studios, the new 26 x 22-minute season will see the return of creator and director Jean-Louis Vandestoc. The reboot combines the franchise’s signature blend of magic, adventure and pop music with a refreshed visual style designed to appeal to both longtime fans and new audiences.

The story picks up after the defeat of Gramorr, with the princesses back on Earth and preparing for a world tour. However, a new threat emerges as Praxina, seeking revenge for her brother Mephisto’s death, becomes more powerful than ever. As they travel across the globe, the members of LoliRock must once again protect the planet while balancing their musical careers.

According to the producers, music will remain at the heart of the series, with a new lineup of original songs and performances intended to extend the experience beyond the screen. The production will also leverage an innovative animation pipeline developed by Xentrix Studios to enhance both visuals and storytelling.

Originally broadcast in more than 150 territories, LoliRock expanded beyond television through music releases, licensing programs and a strong digital presence. With its return, Banijay aims to reintroduce one of its most successful kids’ brands to a new generation while celebrating the legacy that made it a worldwide hit.

This year, the Annecy International Animation Film Festival will feature Une Fugue (To the Woods), the latest short film by French director Agnès Patron, which will screen throughout the week of the event, from June 21 to 27.

The film arrives in Annecy on the heels of a strong international run. In 2025, it was selected for the 64th edition of Critics’ Week at the Cannes Film Festival and won the Best Animated Short Film award in the Short Cuts section at the Toronto International Film Festival (TIFF). It is also among the short films eligible to compete for an Oscar nomination.

The story follows a young woman who remembers her brother: his dark eyes, his hair similar to hers, and the ease with which he found his way to the river. Through these memories, the protagonist reconstructs a bond that remains intact in her memory, shaping an intimate narrative about the absence and enduring nature of affection.

The short film was directed by Agnès Patron and produced by Ron Dyens and Claire Maillard, while the original music was composed by Pierre Oberkampf. With a deeply evocative visual and narrative style, Une Fugue (To the Woods) joins one of the most notable selections of the 2026 Annecy festival.

French production company Good Hero has officially announced Ballerina 2, the long-awaited sequel to the animated hit Ballerina (released internationally as Leap!), marking the film’s 10th anniversary. The project signals the beginning of an ambitious expansion of the franchise across film, television and digital platforms.

Produced by Good Hero founders Laurent Zeitoun and Gregory Ouanhon, the sequel will be directed by Zeitoun, who also wrote the screenplay. Production is set to begin this month, with Gaumont returning as French and international distributor. The film is currently slated for a worldwide release in late 2029.

First released in 2016, Ballerina became one of the most successful independent animated features worldwide, grossing more than US$120 million across over 100 territories. The story of Félicie, a young orphan pursuing her dream of becoming a ballerina at the Paris Opera, continues to attract audiences on streaming platforms a decade later.

Alongside the feature sequel, Good Hero is developing an animated TV series designed to further expand the franchise. British writer Andrew Burrell, known for his work on Disenchantment and Danger Mouse, has been attached to lead the series.

According to the producers, the enduring appeal of Ballerina lies in its themes of perseverance, artistic expression and female empowerment—values they believe remain as relevant today as when the original film first captivated audiences worldwide.

CNC President Gaëtan Bruel outlined the transition during the session, directly addressing the necessity of adapting the market to current industry demands. ‘The creation of this new international documentary market in Strasbourg marks a major step for the structuring and outreach of the sector’, Bruel stated. ‘In a context of sector reconfiguration, it is essential to ambitiously position an internationally recognized market that also promotes the associated institutional challenges. I want to believe that the impact of this new event will be decisive in fostering meetings and cooperation, but also in diversifying and accelerating access to the financing that will sustain the diversity of documentary perspectives’.

Organizers selected Strasbourg specifically for its established institutional ecosystem, as the city houses the European Parliament, the Council of Europe, the European Audiovisual Observatory, Eurimages, and the broadcaster Arte. By positioning the market in this political center, the CNC intends to facilitate immediate access to regulatory bodies and decision-makers. The revised format for 2027 will feature a dedicated European segment, providing a practical venue to negotiate co-production financing, cross-border distribution, and operational frameworks directly with institutional players.

The announcement on Monday also served as the official conclusion of the current market structure. Before concluding his presentation, Bruel used the opening day platform to acknowledge the four-decade legacy of the original event, recognizing the foundational work of the late Yves Jeanneau, the outgoing DocServices organizing team, and the local governments of Nouvelle-Aquitaine and Charente-Maritime for their historical support.

Dandelooo Cinéma is heading to the Annecy International Animation Film Festival with a strengthened lineup of family-focused animated features, highlighted by the acquisition of international sales rights to Pikkuli and Starlight Reindeer.

Produced by Finnish studios AittoFlow and Filmkompaniet, the 80-minute feature is currently in production and is set for release in Finland this October, with a French theatrical launch planned for Christmas 2027 through Gebeka Films. Based on the successful preschool property broadcast in more than 40 territories, the film follows the adventures of Pikkuli, a determined little bird who embarks on a magical journey to save Christmas after the legendary Starlight Reindeer disappears.

The acquisition further expands Dandelooo Cinéma’s growing theatrical slate, which also includes Acorn’s Adventure, a 3D family feature produced by Pure Shore and Fabian&Fred, scheduled for release in 2028.

The company is also arriving at Annecy with strong momentum for Born in the Jungle, recently completed and selected for its world premiere at the festival. The feature has secured a wave of distribution agreements across Europe and beyond, including France, Austria, Belgium, Italy, Portugal, Switzerland, Ukraine, Southeast Europe and Vietnam.

“We are thrilled to bring three new family films to Annecy this year,” said Emmanuèle Pétry, Head of International Sales and Acquisitions at Dandelooo. “These titles reflect the continued growth of our theatrical slate and our commitment to building a strong international presence for high-quality animated features.”

The most poignant segment of the inauguration involved local official François Astorg. The mayor of Annecy dedicated a portion of his address to Satrapi, who passed away earlier this month. Astorg referenced her acclaimed works, such as Persepolis and Woman, Life, Freedom, framing her legacy around the ongoing struggle for artistic and personal liberty. He urged the creative community in attendance to continue utilizing animation as a vital medium for challenging audiences and shaping public discourse.

Festival director Marcel Jean presided over the evening’s formalities, acknowledging the jury, international dignitaries, and notable attendees, which included an unannounced appearance by Mexican director Guillermo del Toro. During the proceedings, Jean presented Illumination chief executive Chris Meledandri with a commemorative handprint plaque destined for the upcoming La Cité internationale du cinéma d’animation hall of fame.

The screening marked a continuation of the studio’s historical ties with the French municipality, dating back to the inaugural Despicable Me showing in 2010. Addressing the audience, Meledandri credited the workforce at Illumination Studios Paris for their role in sustaining the franchise, which has accumulated over $5 billion in global ticket sales. He also elaborated on the creative direction of Minions & Monsters, noting that the narrative relocates the characters to 1920s Los Angeles. According to the executive, the historical backdrop functions as a tribute to early silent cinema icons like Charlie Chaplin, Harold Lloyd, and Buster Keaton, centering around a specific Minion who aspires to produce a motion picture. Helmed by Pierre Coffin, who made a brief appearance to introduce the screening, the feature closed out the first night’s programming. The picture will enter domestic theaters in the United States on July 1, positioning the French market as the initial testing ground for one of the major studio releases of the summer season.

This year’s pavilion brings together a diverse array of national and regional mainstream broadcasters, fully demonstrating the creative strength of the Chinese documentary industry. Key exhibitors include the China Intercontinental Communication Center, Guangdong Radio and Television, Jiangsu Broadcasting Corporation, Beijing Radio & Television Station, and Chengdu Radio & Television.

The China Pavilion is showcasing 30 exceptional films at the international documentary market, covering a wide range of themes that break the boundaries of traditional production to build diversified Chinese stories. The works delve into several core areas:

• Nature and Scientific Exploration: The slate includes Missions to the Moon, a feature documentary offering a first-time inside look at China’s lunar exploration program and the groundbreaking Chang’e-6 mission, which collected samples from the far side of the Moon.
• Ecological Conservation: The series Chinese White Dolphin, which took six years to film, provides a comprehensive record of the species within the Guangdong-Hong Kong-Macao Greater Bay Area. ARTE has already acquired the rights to the series and expects to broadcast it in French and German across multiple European countries in 2027. Other nature titles include Ash Dykes’ Yellow River Adventure, Diary of Biosphere, Wetlands, Our Land, and Mangrove.
• Culture and History: Projects such as Shining Treasures of China, The Potala Palace: Between Heaven and History, and The Unending Journey Roger T. Ames and Chinese Philosophy delve into the profound heritage of Chinese culture. Furthermore, Bridges and Currents: Beijing’s Other Pulse interprets the cultural and urban spirit of ancient and modern China, utilizing artificial intelligence for some scenes.
• Digital and AI-Driven Production: Keeping pace with global trends, the pavilion prominently features the pioneering AI experimental work Fly with the Swift. Chinese creators are looking to establish long-term cooperation with institutions that embrace AI technologies, like AIGC, while exploring the creative norms and ethical boundaries of documentary filmmaking to maintain authenticity.

To build efficient bridges for cooperation, the China Pavilion is hosting targeted thematic exchange events focused on top global industry resources.

The «China Hour» themed event is scheduled for the afternoon of June 23. Invited representatives from world-leading international audiovisual organizations will gather as the pavilion unveils new co-production projects, quality licensed works, and cross-border cooperation plans. This event aims to help international institutions gain an in-depth understanding of China’s documentary development trends and cooperation needs.

Additionally, to celebrate the 2026 China-Brazil Cultural Year, the China Pavilion and Sunny Side of the Doc are launching the innovative «Copro Connections: China-Brazil» event on June 23 at 11 am CET. Key decision-makers from Brazilian broadcasting platforms, top production companies, streaming operators, and investment institutions will engage in deep discussions with Chinese industry representatives. These talks will cover the entire industrial chain, aiming to build a long-term cooperative mechanism that includes program co-production, investment, FAST channel operation, and the joint construction of streaming platforms.

Through these initiatives and documentary images that combine international aesthetics with Chinese essence, the China Pavilion aims to build a bridge for mutual learning and deliver a multidimensional, vivid, and diverse Chinese story to audiences worldwide.