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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'

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.

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ARROW, DISCOVERY BRING BACK TWO TRUE CRIME SERIES
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.

FRANCE’S SUPERIGHTS GETS GLOBAL DISTRIBUTION FOR ‘CLAY TIME’
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.

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