L'édition 2019 du MIA va présenter 47 projets de 20 pays
par Camillo De Marco
- La 5e édition du Marché international de l'audiovisuel se tiendra à Rome du 16 au 20 octobre
Cet article est disponible en anglais.
The International Audiovisual Market (MIA), founded and organised by ANICA (the Italian National Film and Audiovisual Industry Association) and APA (Audiovisual Producers Association), will be returning to Rome for its fifth edition from 16-20 October 2019.
More than 200 international buyers from 43 countries have already confirmed their participation in the MIA Film Division and will be able to get stuck into a busy schedule of events in Rome: a rich programme of screenings featuring 120 films over four days, around 20 brand-new projects in post-production, and What’s Next Italy and C EU Soon, the two in-progress programmes dedicated to upcoming films that will be hitting theatres in 2020.
Among the international companies attending this year, just to mention a few, are: A24, Bac Films, Bankside Films, Beta Cinema, Bravo Pictures, Cinetic Media, Channel 4, Curzon/Artificial Eye, Element Pictures, Endeavor Content, Film Factory Entertainment, Film Movement, Gaumont, HanWay, Kino Lorber, Le Pacte, Magnolia Pictures, Media Asia, Mk2, Mod Producciones, Netflix, Pathé Films, Pulsar Content, Sun Distribution, StudioCanal, The Match Factory, Wild Bunch and TrustNordisk.
The Drama Division will host Rick Jacobs (CEO, Skybound Galactic), Nancy Cotton (EVP and head of Scripted Programming at Epix/MGM), Gina Marcheschi (head of Scripted, Vice Studios), Lorenzo De Maio (partner, Endeavor Content), Michael Gordon (TV agent, CAA), Amit Cohen (creator of False Flag), Kevin Beggs (chairman of the Lionsgate Television Group), Stefanie Berk (EVP of Television, FilmNation), Felipe Tewes (director of International Originals, Netflix), Mike Wald (EVP of Television Distribution and Content Strategy, Sony Pictures Television), Alex Mahon (CEO, Channel 4), Ted Miller (partner, CAA), Nina Lederman (EVP, Global Scripted Development and Programming, Sony Pictures Television), Sean Furst (co-president, TV & Film, Skybound Entertainment) and Danna Stern (managing director, Yes Studios).
MIA Drama has confirmed the presence of 14 top industry leaders on the advisory board, such as Pascal Breton, founder and CEO of independent European company Federation Entertainment, and Ignacio Corrales, CEO of Spanish TV broadcaster Atresmedia. It has also been confirmed that all of the main members of The Alliance, a new partnership formed by leading European pubcasters, will be in attendance, including Eleonora Andreatta, head of Drama at Rai Fiction, Nathalie Biancolli, EVP Co-productions and Acquisitions at France Télévisions, and Simone Emmelius, SVP International Co-productions and Acquisitions at German television group ZDF. Meanwhile, Walter Iuzzolino, co-founder and curator of the streaming platform Walter Presents, will be hosting the second edition of GREENLit, one of the key events of the MIA Drama Division, which will showcase new Italian drama series co-produced with international partners.
The Doc Division has invited Kelsey Koenig (Impact, USA), Justine Nagan (commissioning editor, POV), Avi Armoza (Armoza Format), Nicola Burfeindt (executive producer, Spiegel TV), Suzanne Biermann (commissioning editor, ARTE), Mark Edwards (commissioning editor, ARTE) and Isabelle Christiaens (head of Documentaries and Co-productions, RTBF).
The 2019 edition of the MIA will present 47 projects from 20 countries, offering a highly varied collection. The aim is to support the co-production, financing and circulation of the most interesting upcoming premium content.
For each of the sections, the MIA offers the selected projects the opportunity to be showcased in front of an audience of international key players and to benefit from a tailored matchmaking programme, designed to find the right co-pro and financial partners: public pitching sessions, pre-scheduled B2B meetings, speed meetings and, of course, networking lounges in the most astonishing locations in the heart of Rome. All project representatives will also benefit from dedicated pitching coaching sessions with Bob Schultz, a writer, director and producer who teaches writers all around the world about story structure and pitching.
MIA 2019 has received more than 400 submissions. The numerous highly qualified and accredited key players attending the Co-Production Market and Pitching Forum would seem to confirm that MIA’s high success rate of more than 50% of fully financed and realised projects will continue to increase.
Once again this year, the MIA can also count on the support of several partners for the Co-Production Market awards: the Council of Europe's Eurimages Co-production Development Award (worth €20,000) and the Nat Geo Development Award for MIA Doc projects, worth €10,000.
The selection of the Film Co-Production Market and Pitching Forum at this edition will present 16 projects hailing from 14 countries, some of which share common themes.
Five projects have a historical background: Bulgarian directors Kristina Grozeva and Petar Valchanov's Triumph, which tells a true story with grotesque undertones, unfolding immediately after the collapse of the USSR; Italy’s Runaway Rebels by Fabrizio Cattani, which depicts the resistance of a group of Scouts from Alto Adige, who refused to comply with the fascist regime; another title from Italy, The Commander, by award-winning helmer Edoardo De Angelis, based on the true story of commander Salvatore Todaro; the Polish production The Great Match by Filip Syczyński, about a young Polish refugee who dreams of becoming a great tennis player against the backdrop of the fall of the USSR; and finally, Romania’s Emergency Exit by Bogdan Muresanu, set on the last day of the dictatorship in Romania. Five titles are based on true stories: in addition to the aforementioned Triumph, Runaway Rebels and The Commander, The Prophets by Alessio Cremonini, from Italy, while the Netherlands’ Playboy Priest by Arne Toonen tells the incredible tale of a decidedly unconventional priest. Three projects are partially biographical: Fernando Fraiha's End of the World Residency from Brazil, a reflection on the relationship between reality and fiction; Venezuela’s Mamacruz by Patricia Ortega, on the theme of contemporary sexuality; and the aforementioned The Great Match.
In light of the excellent work conducted by women in the audiovisual sector and in keeping with the increasingly important themes of inclusiveness and the promotion of women's work, five films out of the 16 are made by female directors, totalling 31% of the overall selection. In addition to the aforementioned Triumph and Mamacruz, other female-helmed titles include Vancouver by Vanja d'Alcantara, an action film with a female lead; Talitha Kumi by Hadar Morag, teetering on the boundary between love, abuse and pain; and Sally Potter's Alba, a story about family ties.
A number of other productions are also very interesting, such as Argentina’s The Translator by Daniel Henríquez, the story of a fatal attraction between a police translator and a Chilean thief; France’s Allah Is Not Obliged by Zaven Najjar, revolving around the delicate theme of child soldiers and narrated through the language of animated films; Alexis Alexiou's Mesogia, a Greek-French co-production; and Turkey’s Athlete by Mustafa Emin Büyükcoşkun and Semih Gülen, the story of a young weightlifter at the Olympics.
(Traduit de l'anglais)
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