MIPCOM 2024 comes to an end today, with the last private meetings and round tables about co-productions and scripted content, till midday. Lucy Smith, head of entertainment at organizer RX FRANCE, said at the Wrap-up conference that the event had 10.500 attendees from 110 countries, with 3240 buyers. There were 347 exhibitors and 34 national pavilions, compared to 320 and 24 last year, respectively. MIPJUNIOR, the previous weekend, had about 1000 attendees. About MIP LONDON next February, she stressed there are 200 confirmed companies from 36 countries, with MIPDOC and MIPFORMATS included.

There were 73 brand-new exhibitors, mostly from tech companies: FAST, AVOD, AI and Connected TV (CTV) segments. The 10 new pavilions came from emerging countries, as Egypt, Malaysia, Qatar, Nigeria and Kenya, among others. The main industry communities came as usual from the United States, UK, France, Germany and Spain, in this order. Spain, THE COUNTRY OF HONOR Mipcom 2024, was the nation with higher growth, including 172 companies (50% more than last year). The 110 countries present were 10% up vs. 2023 (100 nations).

Tomorrow at our last Mipcom 2024 daily newsletter, we’ll deploy an own wrap-up with final conclusions. Today we’d like to share rich buyer experiences we’ve collected in Cannes from all over the world. Roy Ashton, Gersh Agency, USA: ‘The US market is growing up again, but very slowly, because the writers’ strike stopped main projects, and now there are not references to follow’. Jinwoo Hwang, Something Special, South Korea: ‘Production funding is the key factor today. In contents, to generate strong emotions. We mix talent with factual to get them’.

Claudia Ruehl, SevenOne Germany: ‘Every big broadcaster nowadays is an OTT as well. We look for mainstream series, all audiences at the same time, but especially fresh procedurals for free TV, which continues healthy’. Dario Turovelzky, Paramount South, Latin America: ‘We are opening the game again: we launch big formats and fictions together our free TVs with other OTTs: Disney+, Max, DirecTV’. Andrea Zaras, TV2 Hungary: ‘In Hungary as in many other countries, the daily shows work better than week shows. We search big entertainment for prime time but also cooking and reality shows for late prime time’.

Matsumoto Shunichi, NHK Japan: ‘We’ve created a content value development center, both for our internal programmers and our international customers. A good content can generate value or not, depending the audience, the context and the tools we use for the promotion’. Francisco Morales, Amazon Latin America: ‘This Mipcom has been a very good market for us, in variety and volume of quality new product. There are many opportunities to do business’. Katalin Radoczy, AMC Networks, USA: ‘We are open to both long and short series. The length doesn’t make a content, the story always first’

Johnny Holden, Filmrise, USA: ‘What’s next? Generative AI applied to customer experience in big VOD platforms, increasing consumption’. Daiva Andrade, 3 Group, Baltics: ‘We buy for 3 countries, 12 channels total. So, we need general entertainment that empower synergies’. Karolos Alkalai, Star Greece: ‘This is a good moment about product availability, but there are too many competitors. To be smart in details makes a difference’. Jamal Douba, MLI, Lebanon: ‘War is the worst for any kind of business. The Middle East has a lot of potential, but we need to survive first’.

Nicolás Smirnoff, Alberto Buitrón and Francisco Ferreyra

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