17/02/2026 - BERLINALE 2026: Mediawan’s group chief content officer discussed scale, independence and IP circulation across borders during a fireside chat at the EFM

A moment during the fireside chat

The European Film Market (EFM, 12-18 February) has hosted a fireside chat with Elisabeth d'Arvieu, group chief content officer of Mediawan, offering an insight into the strategic vision behind one of Europe’s fastest-growing independent studios. Moderated by journalist and festival consultant Wendy Mitchell, the conversation explored how Mediawan has evolved from a predominantly French outfit into a network of nearly 80 production companies across 13 countries, with further expansion on the horizon.

Celebrating its tenth anniversary this year, Mediawan was founded by French independent producer Pierre-Antoine Capton, a fact d’Arvieu stressed remains central to its identity. “We are run on a day-to-day basis by someone who comes from independent production,” she noted, underscoring that creative autonomy is embedded in the group’s DNA. Since joining six years ago, d’Arvieu has overseen the company’s international expansion, transforming it from a largely domestic player into a multi-territory studio active across film, scripted TV, animation, documentaries and unscripted content.

Today, scripted television and film represent the core of Mediawan’s activity, with the balance now approaching parity after an initial focus on series. Diversification, she argued, is both creatively and economically essential. “It’s the biggest playground possible,” she said, pointing to the fluid movement of talent between formats and the potential for intellectual property to travel across media, territories and languages.

Addressing industry concerns about a cooling television market, d’Arvieu rejected the idea that the so-called “TV bubble” has burst. Instead, she characterised recent challenges as the temporary tightening of US co-production opportunities for European English-language content. With US commissioners and streamers now showing renewed openness to shared rights and windowing models, she sees fresh momentum building. “For us as a European studio, this is certainly a green light,” she explained.

English-language production has become an increasingly significant component of Mediawan’s output, particularly following the integration of Plan B Entertainment and See-Saw Films into the group. Roughly one-third of the company’s slate is now in English, a figure likely to grow if the pending deal with North Road Company, led by Peter Chernin, receives regulatory approval.

Yet d’Arvieu was clear that this linguistic expansion does not signal a retreat from local storytelling. On the contrary, she emphasised that strong local content remains crucial for global platforms seeking subscriber growth in individual territories. “Local does not mean lower quality,” she said, citing premium productions that succeed domestically while also travelling through remakes and adaptations. The French hit Call My Agent! will soon see a US remake produced by Plan B, while other European titles are being reimagined for international audiences.

Central to Mediawan’s strategy is the retention and circulation of IP within its ecosystem. Most rights remain at the level of individual production companies, in which Mediawan holds stakes, but the group increasingly invests through its in-house distribution arm to secure ownership positions. This approach, d’Arvieu explained, strengthens negotiating power and enables cross-border co-productions within the network, accelerating financing for ambitious projects.

The studio model, she argued, does not equate to creative uniformity. “We never tell producers what to develop,” she stated, insisting that editorial independence is non-negotiable. Mediawan’s role is to provide market intelligence, financing capacity and strategic partnerships, rather than imposing top-down mandates. “If we regulated creativity, we would lose them very quickly.”

The forthcoming partnership with North Road is designed to deepen Mediawan’s footprint in the USA, particularly in the unscripted arena through North Road’s subsidiary Kinetic Content, while reinforcing the group’s ability to operate on an equal footing with global streamers. d’Arvieu framed the move as a natural progression: “Being independent does not mean being small; it means having the freedom to work with everyone.”

At the same time, she reaffirmed that Mediawan’s strategic centre of gravity remains firmly European. With production hubs spanning France, Italy, Germany, the UK, Spain and the Nordics, the group positions Europe not merely as a collection of local markets, but as a shared creative space where stories, talent and financing can circulate organically. Competitive incentives, cultural diversity and strong public funding frameworks were cited as structural advantages, while intra-group co-productions are increasingly used to scale projects without diluting their European identity.

Looking ahead, she highlighted several upcoming projects that reflect the group’s range, from international remakes and literary adaptations to high-profile collaborations bridging Europe and the USA. What unites them, she suggested, is not genre, but ambition and relevance. “If you only follow market trends, you miss the projects that truly connect,” she observed, pointing to breakout successes that defy conventional commissioning logic.

Closing the session with a message to producers, d’Arvieu emphasised collaboration and openness. She underscored that Mediawan continues to work with third-party companies across Europe, and remains receptive to both single-project partnerships and broader slate arrangements. “We are very open,” she concluded; “come and talk to us.”