The Mediapro Studio Distribution makes its way to Mipcom with a strong lineup, prominently featuring scripted series such as “Raza Brava,” an International Emmy-winning four-part story by Hernán Caffiero, produced in collaboration with DeCulto, Atómica, and Erik Barmack’s Wild Sheep Content.
The series uniquely portrays a real Latin American soccer fan club, centering around a young boy from a lower-income neighborhood who, alongside his best friend, rises to lead the passionate Garra Blanca supporters of the famous Colo Colo soccer team.
During a discussion at the recent Iberseries & Platino Industria conference in Madrid, The Mediapro Studio’s Head of International Javier Esteban participated in a panel with Caffiero (“The Suspended Mourning”) and fellow proponents Magdalena Tocornal, development head at CNTV Chile, and Eric Barmack to address the forthcoming series.
“This series delves into universal themes of passion, family, loyalty, identity, and betrayal—all intertwined with soccer, one of the world’s most universal sports,” Esteban stated. He emphasized that “Raza Brava” holds a key commercial appeal due to its timeless nature and real-world relevance that resonates with contemporary issues.
Caffiero mentioned that his inspiration stemmed from Brazil’s “City of God,” which provides an unfiltered look at a boy growing up amid gang violence, drugs, and poverty in the favelas of Rio de Janeiro.
To prepare his cast, he implemented intense physical training one year prior to filming and chose to shoot in a particularly hazardous area of Santiago de Chile where police are usually absent. “This choice allowed us to connect authentically with the setting we were filming in,” he explained. “When the community witnessed the actors engaging in this process, it enabled us to start forming a genuine bond with them, steering clear of the extractive approach where outside entities come in, take ideas, and profit from them.”
“Over 20 filming days, we created a small community, where the crew felt most comfortable. With our prior understanding from immersing in this environment, we maintained a respectful approach, which was a fundamental principle for us,” he recounted.
Tocornal agreed, stating, “It was quite a journey—a true odyssey, especially with the pandemic complicating matters for all of us.” She also noted how impressive it was to witness the team’s capacity to authentically reproduce the essence of what Colo Colo represents.
“We’re not just discussing Colo Colo as a soccer entity; we’re addressing a social phenomenon and the opportunity it presents to engage with pressing contemporary issues, including the societal impact of soccer, the violence associated with it, and Chile’s historical military dictatorship, all harmoniously integrated within the series, ensuring its universal appeal,” she added.
For Barmack, his involvement with “Raza Brava” was deeply personal, recalling a pivotal moment from when he was five, watching the final match between Liverpool and Roma with his father. “Roma conceded the title in penalty kicks, and the collective sorrow around me left a mark. It was the first time I truly cried, showcasing how soccer stirs profound emotions,” he reflected.
Barmack highlighted that Colo-Colo ranks among the top clubs in Latin America, and Caffiero crafted a narrative that, while centered on soccer, expands into universally relatable drama—especially poignant in Latin America, where the sport is interwoven with identity, pride, and adversity.
The panel concluded by recognizing the benefits of co-productions: “International creators should consider Chile more closely. The nation boasts rich storytelling and directorial talent, but its stories grapple for visibility in broader markets since Chile often lacks presence in principal production circuits,” Tocornal noted.
“Chile’s national funding—now nearing its 33rd year—offers varied co-production possibilities, although this model remains underdeveloped. As co-production becomes the industry norm, early-phase support is increasingly critical. In Chile, initial development funding is scant yet vital, as it establishes the framework, vision, and international viability of the project,” she emphasized, adding, “Chilean creators possess the skill set but require more upfront investment to elevate their works globally. While local perspectives matter, well-crafted strong archetypes can resonate if developed thoughtfully from the outset. Early-stage involvement of international co-producers is crucial.”
Esteban shared that co-productions have become a foundational model for The Mediapro Studio—a model they initiated with Latin America and Europe in television. They currently leverage co-productions to launch ambitious projects. “The industry is evolving quickly, and the best structure is simply the one that brings projects to life. For us, that meant employing a co-production model—collaborating with diverse companies to leverage complementary strengths,” he noted.
He added, “Flexibility is integral for The Mediapro Studio; it’s part of our core values. When Erik Barmack gathered the partners, each brought something vital to the table, and our studio provided an essential piece to finalize the puzzle. It was the collaboration—the synergy of all contributors—that enabled the project’s fruition.”
The Mediapro Studio’s notable works include titles like “The Head,” “Iosi, the Regretful Spy,” “Las Bravas,” “Consuelo,” and “Intercambiadas.”
This year’s Mipcom slate features the badminton-centric series “Yakarta” and the comedic thriller “Celeste,” along with Daniel Burman’s “So Far So Good” (“El resto bien”) and “Quiet,” a thriller by Lluís Arcarazo.
