The MIA Market, short for Mercato Internazionale Audiovisivo (International Audiovisual Market), is gearing up for its 11th edition, starting on October 6th. This year’s event promises to unveil over 100 projects to prospective partners, along with a series of insightful panels. With hundreds of top executives expected to attend, the MIA Market is set to make waves once more in the heart of Rome.
Recognized as a distinct pre-Mipcom boutique event, MIA centers on international TV series and formats, animation, feature films, and documentaries at various production stages, all striving for financial backing, often through co-production partnerships. Under the leadership of Gaia Tridente, now in her fourth consecutive year, the market has established itself as a pivotal platform within the industry.
In a recent interview with Variety, Tridente shared her insights on the exciting developments at MIA this year.
What inspired the introduction of the Book Adaptation Forum this year?
MIA has gradually emerged as a vital platform for international co-productions in Europe. We are leveraging our extensive experience to set a standard that is arguably among the best in Europe and globally. Our market not only facilitates deals but also acts as an essential cornerstone for the industry. Projects showcased at MIA typically find their way into the market, thanks to our team’s diligent curation and development approach. A current market demand is the promotion of literary intellectual properties, which led us to establish the Book Adaptation Forum.
Can you elaborate on MIA’s impact on project realization?
Certainly! For instance, this year’s content showcase features three projects that initially emerged from MIA. One standout is “The Best Immigrant,” a series by Belgium’s Caviar that delves into immigration themes; it was presented last year at MIA, securing both financing and international distribution with Sony. Another example is “177 Days: The Kidnapping of Farouk Kassam,” which was pitched at MIA as an in-development project in 2021 and is now entering production under Italy’s RAI Fiction and BIM. Additionally, “Il Cileno,” directed by Sergio Castro San Martín, started at MIA in its early stages and has evolved into a collaborative effort between Italy, Chile, and Switzerland that we’re now showcasing as a work-in-progress.
What is the focus of the newly added AI workshops at MIA?
In recent years, the intersection of technology and various production phases has blurred considerably. To reflect this change, our Innovation for Creative Industries program introduces an AI section featuring five specialized workshops. Three of these are in collaboration with the EU’s Creative Europe Media program, focusing on development, production, and distribution. The other two are technical workshops: one centered around blockchain AI for traceability and transparency in AI-generated content, and another discussing the role of AI in post-production visual effects.
What enhancements have been made to the animation segment this year?
Animation is experiencing significant growth, and this year we’re expanding our animation section to include content for both TV and theatrical distribution. We are proud to welcome industry notables like Andrew Leung, renowned American concept artist associated with films such as “Black Panther” and “Mulan,” who will deliver a keynote on animation. For the first time, we’re hosting a closed-door Children’s Pubcasters Meeting involving leading European networks focused on children’s animation, including BBC, France Television, RTV, ARD, and RAI, to discuss common development strategies and potential international collaborations. The key findings from this meeting will later be shared in a public panel.
Can you tell us about the updates to MIA’s International Factual Forum?
In previous years, this section had a quieter profile, but it has sharpened its focus this year with a diverse array of factual entertainment content. We’re introducing innovative formats, such as “Best in Shoe,” conceived by Mandy Riggi of Britain and produced by Reverse Image Media, featuring competitive shoe designers. Notably, the Paramount Award, which returns to MIA this year, will recognize a factual entertainment project instead of a drama, marking a significant shift for the forum.
How does MIA’s timing in relation to the Mipcom market in Cannes benefit it, and what sets MIA apart?
Our strategic timing relative to Mipcom is crucial as it allows us to identify and develop essential market opportunities. MIA aims to cultivate a unique experience that caters to about 2,800 participants from 60 countries in 2024, rather than striving to be a massive event like Mipcom with 13,000 attendees. This level is optimal for the curated environment we want to foster, emphasizing quality interactions over sheer numbers.
MIA stands out due to its meticulously curated approach to projects and guests. Each project is selected based on a genuine inclination to see it succeed rather than mere commercial motives. We don’t view our participants as clients, but rather focus on fostering meaningful connections among producers, distributors, and content creators to facilitate impactful projects in the marketplace.
This interview has been edited and condensed for clarity.
