International Newswire: Broadcaster-Driven Movie Production Dominates Spain

The movie arms of Spanish broadcasters, such as Mediaset España's Telecinco Cinema, are behind local hits like 'Tadeo Jones 2'

Tadeo Jones 2

MADRID — The rise of digital platforms has, of course, been one recent revolution in film and TV. Another, not so sung about, is in international, the rise of the broadcaster-driven movie production model. That may be seen most clearly in the Spanish-speaking world.

Take Spain. Last week, Telecinco Cinema, the movie production arm of Mediaset España, pointed out it had co-produced the four highest-grossing Spanish movies of the year in Spain: Animated feature “Tadeo Jones 2, and the Secret of King Midas” (grossed €17.9 million/$21.1 million); comedy “Es por tu bien” ($11.2 million); “Marrowbone,” a chiller ($8.4 million); and Alex de la Iglesia’s highest-grossing film ever, acerbic relationship satire “Perfectos desconocidos,” which has sprinted to a first 19-day $10.6 million.

On Tuesday, Atresmedia Cine, the production arm of rival broadcaster Atresmedia, came out with its own analysis: Its nine 2017 Spanish movie releases had garnered 4.8 admissions, some 31.8% of this year’s total Spanish movie box office.

Overall, the Spanish film industry is not in good shape. Paling before other major countries in Europe, its $35.3 million state subsidy coin is just not enough to sustain a substantial or diversified industry. In such a context, maybe most high-profile movies next year will be backed by either Telecinco Cinema or Atresmedia Cine, which presented its 2018 line-up on Tuesday. In its mix: a new Santiago Segura comedy, “Sin Rodeos”; Dani de la Torre’s “Gun City,” a Barcelona 1921 gangster movie; and “The Kingdom,” from Rodrigo Sorogoyen, a pacey political corruption thriller.

U.K. independent production company Arrow Media has been recommissioned by U.S. network Investigation Discovery to renew production on two true crime series.

Returning for a fourth season, “See No Evil” sees investigators using CCTV footage to recount major crimes. The series is co-produced by Saloon Media in Canada, where it has also been recommissioned by French-language broadcasters Canal D. International distribution duties fall to Entertainment One.

The second series, “American Monster,” is setting up for a third go-round. The show looks at actual home-made video of the lives of murderers before they committed and were convicted of their crimes.

French distributors Superights will be handling global distribution on the Pre-K claymation series “Clay Time.” The show is produced for France Télévisions by child-programming production company Reaz. Reaz was founded in 2015 in association with JLA Group, a major player in France, producing music, video games, TV and film.

The series is aimed at children between three and five, and encourages them, with the help of a narrator and a group of colorful animals, to be creative while they watch. The show is cut into three minute episodes, and has accompanying how-to instructions available online for audiences to play along.