The TFL Meeting Event is currently under way until 22 November, boasting a series of meetings and pitching sessions where 48 projects at their early stages are being presented. These projects span various formats, from TV series to feature films. The best ones will be awarded prizes by a series of juries, with the total prize money amounting to €441,000.

Said juries are composed of prominent industry figures such as Dorota Lech (programmer, Toronto International Film Festival), Ava Cahen (artistic director, Cannes Critics’ Week), Marie-Ange Luciani (producer, Les Films de Pierre), Andrea Occhipinti (producer, Lucky Red) and Francesco Capurro (director of the Series Mania Forum). Joining them are talents who have come up through TFL itself, including Mo Harawe (director of The Village Next to Paradise [+leggi anche:
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scheda film], developed at ScriptLab 2022 and premiered at Cannes in 2024) and Radu Stancu (producer of Milk Teeth [+leggi anche:
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intervista: Mihai Mincan
scheda film] by Mihai Mincan, developed at FeatureLab 2023 and unveiled at Venice in 2025).

We gathered insights from several jurors, each offering a unique perspective on the work of the TorinoFilmLab: Radu Stancu is a member of the jury handing out the Eurimages Co-Production Development Award, along with Carole Baraton (Charades) and Emma Scott (Screen Ireland); Mo Harawe is a member of the jury assigning the TFL Production Award, together with Thania Dimitrakopoulou (The Match Factory) and Dorota Lech (Toronto International Film Festival); and Francesco Capurro is a member of the jury assigning the SeriesLab Development Award, alongside Malin Nevander (SVT Drama) and Petra Strašek (Pro Plus Slovenia).

Cineuropa: Radu, could you tell us something about your previous experience as a participant in the TorinoFilmLab as a young professional? How does it compare to your role as a juror?
Radu Stancu: The TorinoFilmLab was crucial for my project, both for its creative development and the market exposure of it. In the workshops, our mentor led some valuable discussions, but it was the feedback from my fellow participants – all at the same stage of development – that helped us push the project forward. A pivotal moment was a session with Marta Andreu, who helped us find the soul of the project. She showed us how a missing girl who is never found can be a much more powerful symbol than one who is found dead. The lab also assisted with practical aspects, like exploring in-camera effects instead of VFX.

Now, as a juror, reading the 12 projects selected from 800 submissions is like getting an X-ray of today's European artistic and social concerns. The quality is outstanding, and I notice that many of the selected writers are very young, which is incredibly stimulating.

Mo, how was your experience as a participant in TorinoFilmLab while developing The Village Next to Paradise? What do you think are the challengers of being a member of the jury?
Mo Harawe: I participated in the lab a few years ago, and the feedback from my international peers and tutor was very important. It helped me test my writing with people from completely different cultures, which is a perspective you can’t get in your own country. The industry meetings also helped me better understand the business side of filmmaking, and I left feeling enriched not just as a filmmaker, but also in my worldview.

Now, as a juror, I find it impossible to judge these top-tier projects with strict criteria; the differences are minimal and often come down to a personal connection. For young directors today, I believe the main challenge, beyond money, is managing expectations. The journey from a short film to a feature is long, and you risk losing your unique voice amidst all the feedback. My advice is to be true to yourself and to try to find a safe, collaborative environment that protects your vision while providing the necessary guidance to grow.

Francesco, reflecting on your role, could you share your perspective on what it means to be a juror for this lab, and from your vantage point, what would you identify as the most pressing challenges and opportunities in the European content market today?
Francesco Capurro: I was delighted to be a juror for the Series Lab, having co-founded its first edition in 2017. The quality of the projects is a direct result of the excellent work done by the tutors. My approach to judging focuses on a project's market potential and its feasibility within the current European industry, analysing what broadcasters are seeking. The European market is relatively stable, bolstered by public funding and regulations that have created virtuous alliances with US streamers. The main challenge remains getting series to travel beyond their domestic borders.

For a young creator, participating in a lab like Torino's is fundamental; series are a collective endeavour, and no one can navigate the complex development and financing journey alone. These initiatives and events like Series Mania are crucial for building a professional network.