MIPTV 2022 stars this Sunday morning with MIPDrama, one of its most successful sub-events in a venue which is mostly identified with formats and factual. Facing the week, this MIPTV is an opportunity on its own: for the event to make a new kick-off in tis evolution, and for the executives coming from the pandemic, to play first the new market environments taking shape.

The Russian-Ukraine war adds new condiments to the still uncertain post covid picture. But since the openings of the blackouts, the markets of the content business have looked healthy, with people wanting to attend and doing business, after the long stop. According to European associations, this April promises to be the same: about 4.500 people would attend MIPTV 2022, quite the same as at Mipcom 2021. And this time there are many only-Mipcom executives, that couldn’t attend October and don’t want to wait one year.

Also, MIPTV has a new lay-out. Before the pandemic if you remember, MIPTV had prepared a change, with all small booths and just two pavilions open. When Mipcom could return last October, it deployed the same concept, optimizing costs and concentrating traffic, beyond more ventilated halls. This formula will continue at MIPTV for sure and perhaps at Mipcom, because we have a new market now, with less people travelling.

Are these tips enough to assure a good market, or a new start for MIPTV? Of course not. For Prensario the above figures are high, in our opinion about 3.000 people should attend the traditional Spring Cannes show. But above all, MIPTV has a long-time problem of confidence, with many people considering that is bad to pay as for Mipcom but receiving 30% less movement, or so. REED MIDEM must continue working on fees, buyer attendance, networking, extra values, to get everything more flexible, as during the pandemic.

MIPDrama? This is the 7th edition and there was a record number of 50 submissions, selecting 10 series that are 50% from the Nordics, mostly from Finland (3): "Evilside" (6x'45) from Handmade Films, "Summer of Sorrow" (10x45) from Rabbit Films, and the political drama "The Invincibles" (8x44) from Moskito TV, the three for Elisa Vihde. Also, the young series "All That is Left" (8x'20-'25) from Erik McAllister for SVT (Sweden); crime movie "Elvira" (8x'60) from SAM (Denmark) for Viaplay; "Bangla" (8x'30), an Italian dramedy from Fandago for Rai.

Lastly, two dramas from Germany: "Dear Vivi" (6x'45) from Seven Dogs for ZDF and "House of Promises" (12x'60), a 1900- drama from X-Filme for RTL+ and Vox. The co-production "The Net" (2 series of 8x'60s and a series of 6x'60s) from Netz, MR-Film, SS and "Cross" for ARD and Servus TV. And "Billy the Kid" (9x'60), USA/Canadian western from De Line, Amblin, MGM, and OBP/EPIX for EPIX (USA), Viaplay (Nordic), Stan (Australia) and MBC (Middle East).

Nicolás Smirnoff and Fabricio Ferrara

If you want to receive our Daily Reports, please send an email to newsletter@prensario.info with your email and contact details