The former head of the EFM reflects on the first edition of Seriesly Berlin, discussing its bold approach to series production, industry trends and audience engagement

(© Artem Gvozdkov)

The inaugural edition of Seriesly Berlin has concluded (see the news), and we had the opportunity to speak to Dennis Ruh, a member of the festival's board of directors. He shared his insights into organising this brand-new event, highlighted some key moments from the conferences, and discussed the audience's engagement with the series showcased in the German capital.

Cineuropa: How would you assess the festival's overall impact on the industry, and its reception by professionals and the public?
Dennis Ruh: The feedback we received from participants indicates that Seriesly Berlin made a lasting impression. We started with the bold question, “Who the fuck needs another TV event?”, and I believe we successfully sparked meaningful conversations around it. Our conference aimed to ask bold and unfiltered questions, focusing on serial content creation, production and distribution from fresh perspectives. According to many attendees, we succeeded in provoking thought, driving important discussions, highlighting best practices and creating an environment conducive to creative exploration.

Across three nights, we screened new series on the big screen, highlighting bold, independently produced works. This format not only increased media and public awareness of the artistic value of series, but also supported series in securing international distribution. For example, the US show Penelope was one of the standout discoveries of the festival and has since been picked up by Fremantle. The screenings, with their shared laughter and Q&A sessions, created a much more immersive experience compared to streaming. Audiences eagerly engaged with creators, taking advantage of every opportunity to have deeper discussions about the work.

What were the key takeaways from the panels and conferences? Did any trends or insights surprise you?
The opening keynote by Tatjana Samopjan set the tone for the festival, exploring creativity in TV and film through a deep, personal lens. Her address called for writers to look at the world with fresh eyes and to embrace creative renewal. Jenji Kohan, creator of Orange Is the New Black and Weeds, reinforced this by urging writers to focus on more positive visions, calling for less dystopia and more joy. This approach was well-received, especially in an industry facing increasing challenges.

We also explored various themes in the two-day conference, many of which stood out as significant. For instance, during the panel on curating innovative conference content, we saw how essential it is to break down gatekeeping. Having experienced curators like Francesco Capurro from Series Mania and Gaia Tridente from MIA Market speak on the importance of going beyond traditional panels was a highlight. Instead, curators need to embrace formats such as workshops and closed sessions to allow deeper, safer conversations. Continuous exchange with industry representatives is crucial for identifying key issues and addressing them effectively. We also learned that the future of conferences must include discussions on both successes and failures, and that younger voices should be given platforms to speak freely.

During the panel “All Eyes on Me: The Battleground for Attention in the Digital Age”, we dove into the complexities of creating global hit series. It became clear that there’s no magic formula for engineering a global success, but one key point emerged: a show must work in the local market first before it can achieve global recognition. We also discussed the concept of “bonfires” versus “fireworks” – series that build slowly over time versus those that shine brightly but briefly. Both have value, but require different types of attention and promotion.

How successful was the festival in balancing industry needs with public engagement?
For our first edition, we placed a strong focus on creating an event of relevance for industry professionals and creatives. However, from the outset, we also wanted to ensure the festival was open to the public. We selected series with artistic ambition that shed light on underrepresented topics and opened new horizons.

We deliberately limited our selection to six series, each of which was presented in a cinema with the creators present. This provided an opportunity for dialogue and reflection, which is something that a streaming platform can’t replicate. The collective experience of watching these series in a theatre, coupled with post-screening discussions, made the event more impactful for both creators and audiences. Overall, we achieved a strong synergy between the industry-focused conference and the public programme, giving the festival a unique position that blends both elements.

How did international series premieres resonate with audiences? Were there any unexpected highlights?
Our screening of the German production Der Upir kicked off with a packed house. This vampire comedy by Peter Meister, produced by UFA Fiction for Joyn, received an enthusiastic response, with plenty of laughter and applause. Some scenes were polarising, but that only added to the lively discussion afterwards. The German premiere of Dressed in Blue was another standout, especially due to the presence of its star, Lola Rodríguez. Her performance and activism resonated deeply with the audience. Mel Eslyn’s Penelope was also a festival highlight and has since gained momentum in international sales. Spinners, a series focused on extreme motorsports as a way out of criminal environments in South Africa, similarly engaged the audience, as did the French series The Trigger by Eric Benzekri.

How did major platforms like Prime Video and Netflix influence the discussions on content production? Did their involvement shape the festival’s direction in any way?
Streaming giants like Prime Video and Netflix were central to many discussions on content production, as they dominate much of the landscape. However, we also spotlighted independent series that were later acquired by platforms. For the launch of Seriesly Berlin, we were fortunate to have substantial support from the Medienboard Berlin-Brandenburg and the Berlin Senate Department for Economic Affairs, which gave us the artistic freedom we needed to curate the conference and screenings without being tied to corporate interests.

That said, we did include representatives from streaming services in our panel discussions. Dr Christoph Schneider from Prime Video, for example, shared insights into its strategy for Germany and Austria during a fireside chat. This balance allowed us to explore the impact of streaming services while still maintaining an independent spirit in our programming.

Looking ahead, how do you envision the future of Seriesly Berlin? What impact do you hope to see on the global series production community?
We’re already collecting feedback from this year’s participants and are eager to evolve Seriesly Berlin in ways that continue to innovate and provide value to the series industry. Our vision is to further establish Seriesly Berlin as a platform that fosters creative exchange and innovation, helping to position series as a distinct cultural asset. Ultimately, we want the festival to continue supporting both artistic expression and commercial success. By giving creative visions a platform to be developed and realised, we hope to contribute to the global series production community while providing participants with real, sustainable value.