MIPLONDON 2025 has come to an end yesterday, while THE LONDON SCREENINGS finish today by midday, with Fremantle presentation. Wrap up? MIP organizer RX France is pleased with this first edition, especially the ‘sold out’ attendance to main conferences and cocktails. Attendees are mixed: many agreed that it was better than expected, but many too, stressed that the market must improve its basics to be profitable. About the screenings, buyers now require more fresh-new unscripted formats, after years of proved-success classics. This is good news for the whole industry.

RX will send this afternoon a press release with figures and conclusions about MIPLONDON. PRENSARIO could anticipate its main issues: the organization confirmed 2800 registrations, including +1000 buyers. These are 200 attendees more since the beginning of the market. Lucy Smith, head of TV, said: ‘MIPLONDON’s debut has been hugely encouraging. This is the year one of a long-term commitment and we will be back in London next year’. Also: ‘We will listen carefully to every bit of feedback to evolve MIPLONDON for 2026, and to deliver what the international market says it needs’.

Something important to evaluate the week is to check the real numbers of the whole industry. PRENSARIO has been attending many of the 38 LONDON SCREENINGS that took place, and they received 250, 300, 350 buyers each. The top ones with flexible hours, reached 700-800 pure buyers. So, we can assume that about 1200 pure buyers attended total LONDON SCREENINGS. From them, one third could share time with MIPLONDON, that on its own invited buyers ‘all paid’ from the world and also handled separated buyer traffic, from the MIPTV tradition. So, these are the real buyer numbers. If you add buying-distributors, producers, agents, you engross sensibly the figures, but to ask many thousands of buyers is nonsense in most of the content markets.

Good MIPLONDON tips: after testing, it was true that from the SAVOY HOTEl and IET building, you could reach any screenings with 15, 20 minutes walking at the most. This was great to share events at the same journey. PRENSARIO could check at least 60-70 important buyers that did it. Also: RX decided the last two days to move the main conferences from the 2nd floor Turing Theatre —250 people capacity— to ground-floor Kelvin Theatre —350— to avoid closing doors with audience outside, as it happened the first two days. The conferences attraction was a big success of the event, as much as the friendly networking areas, that let attendees have easily comfortable meetings. MIPLONDON is not for everybody, so head people could see each other with more time available.

Key tips to improve: most of the traffic was at the ground-floors for conferences and networking lounges, while the upper exhibitor floors were most of the time quiet. PRENSARIO made a survey about volume of meetings per exhibitor during all MIPLONDON, and the best ones had 40-50 meetings, the average was 30 and some had 25, 20, even 15 meetings. It was key to work well the previous agenda and the online networking platform, there was casual traffic but not many. All in all, to spend 4-5 full expensive days in London to have long gaps between meetings, was not good for them. Even, many exhibitors left the tables empty for hours, affecting any buyer demand. A first recommendation for 2026 is to find a location to have all players together in the same floor. A better balance between sold-out conferences and exhibitor traffic, is a clear need.

Content trends? From 10 big screeners PRENSARIO interviewed, at least half agreed about a growing demand for fresh-new unscripted formats. The sure classic successes will go on, but it is very good to have wider space to renew the programming offerings. In genres, there is a clear growth of adventure, survival realities, we saw this at Mipcom and again at many screenings in London. In scripted, unique, super natural stories continue on the move, while true crime, procedurals, keep strong mainly in broadcasters and pay TV channels.

About origins, the market is now fully global, with American players mixing ventures with European titans most of the times. Australia, Canada, the Nordics, are now on the group. And it is touchable the emergent territories explosion, as good partners for major projects and even as a main source of funding, when the central markets are with severe budget reductions. Japan and Korea are now high-end options, but also other Asians, MENA, for sure Turkey, Israel. They were the main sponsors at MIPLONDON and coproducers of many projects at LONDON SCREENINGS.

In UK in particular, there is a hard financing problem for producers, because networks are not paying any more the total production costs, just 50% of them. The rest must be solved with international and business twists… another tip to make the market more international, too.

Nicolás Smirnoff and Francisco Ferreyra

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