Rome’s MIA Market concluded its successful 11th iteration on Friday, showcasing another impressive turnout of over 2,800 attendees—matching the record from 2024—from 64 countries. This edition marked the most extensive global reach ever for this exclusive pre-Mipcom event.
“We are experiencing a time of significant change: shifts in financial frameworks, fragmentation of audiences, redefinitions of distribution avenues, and technological progress,” remarked Gaia Tridente, the market’s leader. “In the midst of this complex economic and geopolitical landscape, MIA has chosen not to retreat but to forge ahead, introducing tangible initiatives aimed at supporting our accredited participants.”
Highlighting efforts like enhancing the co-production market and industry initiatives, expanding the book adaptation forum to link publishing with audiovisual content, and a new program focused on artificial intelligence, Tridente continued, “This is how we transform challenges into opportunities, making Rome the place where narratives take flight and envision the future.”
Netflix co-CEO Ted Sarandos also made an appearance in the Eternal City, unveiling the streaming service’s plans to breathe new life into a historic cinema, alongside various international television executives discussing the potential for a revival in the global drama sector, which has recently struggled.
As these executives prepare to head to the French Riviera for Mipcom, scheduled for October 13 – 16 in Cannes, here are eight insights gleaned from a busy week in Rome:
European executives stand strong as Trump’s tariff threats fail to intimidate
Despite President Donald Trump’s recent threats to impose a hefty 100% tariff on films produced outside the U.S., European film industry leaders remain undeterred. Italian culture undersecretary Lucia Borgonzoni criticized the latest tariff threats as “insane,” while triumphant executives in Rome celebrated the continued influx of Hollywood productions across the Atlantic. Taking a victory lap, they highlighted Europe’s appeal as a prime destination for producers.
“It’s a straightforward issue, and the U.S. has recognized it: currently, there’s no better place for producers than Europe,” stated Alexandra Lebret, a partner at French investment firm Axio.
Amidst soaring global production costs and a cautious approach to spending, the influx of U.S. productions in Europe has surged, with Hollywood studios seeking tax credits and subsidies to alleviate cost pressures, according to UTA sales agent Alex Brunner.
Brunner described an “arms race” in tax incentives that has dramatically benefited European production centers. “American filmmakers are gravitating here because they realize they lack the incentives available in Europe,” noted Rodrigo Texeira, producer for Brazil’s RT Features.
Regarding Trump’s tariffs, Texeira echoed the global industry’s collective bewilderment, asking, “No one truly understands what he means or what he’s discussing.” Christopher Vourlias
Despite cuts, optimism brews in the TV industry
Although a prolonged period of budgetary constraints, mergers, and shifts in corporate strategy has dimmed the enthusiasm of many TV executives, global television leaders in Rome emphasized the importance of bold decision-making during this time.
“There is a sense of optimism currently, particularly concerning creative risks. The atmosphere isn’t as dire as it was a couple of years back,” stated Steve Matthews, joint head of scripted at Banijay.
Matthews noted that streaming platforms are rebounding from a period of overly cautious commissioning. “We’ve been caught in a ‘doom loop’ where producers have convinced themselves that buyers are risk-averse,” he explained. “Now is the moment to inject some momentum into our proposals… There’s a growing openness among buyers for new concepts.”
Standing out in a hyper-competitive market remains a challenge, as Léo Becker of France’s Federation Studios noted, “Whether it’s star power, a renowned creator, or an original concept, that makes a show appealing to the international market.”
With tighter budgets than ever before, Larry Grimaldi, senior vice president of creative affairs at Fox Entertainment Studios, cautioned against prioritizing safe bets. “Television used to be a platform for discovering new talent; it’s regrettable that we’re now leaning heavily on established names,” he remarked. “There’s space for both.” C.V.
Sarandos visits Rome to revive iconic cinema
Netflix co-CEO Ted Sarandos traveled to Rome during MIA to commemorate the tenth anniversary of Netflix’s launch in Italy. He announced a “unique” collaboration with Rome’s Centro Sperimentale di Cinematografia (CSC) film school to refurbish and reopen the Cinema Europa movie theater.
Cinema Europa, a historic venue that closed during the pandemic, is set for renovations and will serve as a hub for education, research, and the promotion of Italy’s cinematic heritage. The CSC will be responsible for the theater’s programming and management, establishing a welcoming environment for film students and enthusiasts alike.
“Cinema Europa is an integral part of Italy’s creative identity,” Sarandos emphasized at a press conference held at the Italian culture ministry. He pointed out that it was the location of Italy’s first open-air film screening 120 years ago, showcasing Filoteo Alberini’s ‘La Presa di Roma.’
Courtesy Netflix
Located near Cinecitta Studios, the Centro Sperimentale is recognized as the oldest film school in Western Europe. Its alumni include the Oscar-winning director Michelangelo Antonioni and cinematographer Vittorio Storaro, as well as Edoardo De Angelis, who helmed Netflix’s adaptation of Elena Ferrante’s “The Lying Life of Adults.”
Netflix is supporting this initiative with a €4 million ($4.6 million) sponsorship as part of a five-year agreement. This funding will facilitate part of the renovation and operational costs, alongside promoting various cultural and educational events. The streaming service aims to help launch a new “laboratory” for cinema in Italy’s capital. Nick Vivarelli
Italian original content production declines
Investment in Italy’s television and film industries rose by 9% in 2024, totaling €16.3 billion ($19 billion) across all sectors. However, the generation of Italian original content saw a significant 12% decrease, yielding 658 hours in the past season, primarily due to reduced commissions from streaming services.
This critical takeaway was highlighted in a report released by the Italian TV producers’ association, APA, during the MIA market, which focuses on international TV series, animation, feature films, and documentaries.
Italian linear broadcasters now constitute over 60% of the local scripted originals, with state broadcaster RAI remaining a key player in driving the industry. The report conveyed that Italy’s linear channels and streaming platforms have reduced their reliance on original content from previous seasons.
It reported a 29% decline in streaming commissions for Italian originals from the top two streaming services in Italy, Netflix and Prime Video; a 16% decline from pay-TV channels (notably Sky Italia); and an 8% drop from free-to-air channels.
Interestingly, while the number of commissioned hours by Netflix experienced a 4% uptick for scripted series, Prime Video scaled back its local scripted productions while opting for increased unscripted programming. The report also noted a pivot in the Italian TV landscape towards a “product-driven model” rather than a “demand-driven model,” according to APA’s head, Chiara Sbarigia, who emphasized the growing preference for projects with broader market appeal. N.V.
Gender parity in the drama industry remains a challenge
Only 27% of individuals working in the European drama sector between 2019 and 2023 were women, as reported by the European Audiovisual Observatory, highlighting the ongoing struggle for gender equality in the region’s audiovisual landscape.
“We have made progress, but there remains a considerable distance to cover,” asserted Laura Abril, EVP of scripted content and global business development at Buendia Estudios in Spain.
Former Channel 4 drama head Caroline Hollick expressed concerns at the event about the U.K. TV industry’s hesitance to innovate during a time of contraction, warning that it could undo improvements made during the post-MeToo movement.
“During the industry’s contraction, decision-makers are reverting to familiar male writers with established records, and let’s be forthright: not many of them are women,” Hollick stated.
“The key to producing better shows—and ultimately generating more revenue—is by hiring the best talent available. If you’re excluding half the population, you risk missing out on transformative ideas that could lead to financial success,” she contended. C.V.
Courtesy of Christopher Vourlias
Where improvements have occurred, they often stem from deliberate actions by industry leaders to drive change. After an internal review revealed that only 18% of primetime shows were directed by women, German broadcaster ZDF launched a program specifically for female directors, leading to a significant rise to 42%.
“You can’t just complain,” emphasized Jasmin Maeda, ZDF’s SVP of international fiction co-production and acquisition. “Action is necessary.”
Spain, meanwhile, implemented a point system in its tax incentive scheme that rewards projects featuring female cast and crew members, resulting in a substantial increase in female representation within the audiovisual sector to 38%, according to a 2024 report by the Spanish Association of Female Film Directors and Executives.
Chiara Cardoso, managing director of the U.K.’s BlackBox Multimedia, cited this as an example of “discovering ways to encourage stakeholders and producers to broaden their horizons and take risks.” C.V.
Factual programming thrives, but producers must navigate the noise
In these unpredictable times, one fact remains clear: factual programming is flourishing. “Our broadcasters have an insatiable appetite for content,” stated Cecilie Olsen, SVP of global content, non-scripted at ITV Studios Global Distribution.
The market for premium documentaries remains vigorous, yet “it needs to cut through substantial clutter and stand out to succeed on either linear channels or platforms,” noted Gerbrig Blanksma, SVP of international sales and partnerships at Blue Ant Media in the U.K.
Blanksma showcased footage in Rome of Blue Ant’s upcoming Taylor Swift documentary “Taylor,” anticipating a launch at Mipcom that features exclusive access and previously unheard audio. “If it’s a significant talent or an impactful story, that’s often still not sufficient. Audiences want something they’ve never encountered before,” she commented.
Although TV executives remain optimistic about the factual market, “commissioning is slowing,” remarked Blanksma, who added that her company is consistently exploring “new models of financing content” to adapt to the evolving landscape.
“In a climate of shrinking budgets, collaboration and co-productions are becoming vital,” she mentioned. “We need to identify additional avenues to monetize our content moving forward. Flexibility is increasing.” C.V.
Nordic drama rises despite global downturn
Conversely, the overall environment for the global television industry hasn’t been entirely bleak. While worldwide commissioning decreased by 15% in the first quarter of 2025 compared to the same period the previous year, the four Nordic public broadcasters experienced remarkable growth of 24%.
This support has become a cornerstone for Nordic production, according to Josefine Tengblad, co-founder of Swedish firm Nordic Drama Queens, who described public broadcasting as their “backbone.”
However, government cuts in cultural funding in Finland and the challenged ability to engage younger audiences have threatened this once-reliable model.
“It’s a more challenging landscape for bold moves compared to a few years ago when things were flourishing,” reflected Johanna Gårdare, head of drama at Sweden’s SVT. “Fewer commissioners are greenlighting fewer series, affecting the content. It’s risky to deviate from established successes.”
While Nordic Noir has traditionally enjoyed a secure position, NRK head of drama Marianne Furevold-Boland stated that the Norwegian public broadcaster is eager to “identify unique narratives that stand out, even if it means diverging from tried-and-true formulas.” She warned, “If we don’t explore, we won’t advance.”
Gårdare reiterated, stressing that “the world is more interconnected than ever.” She added, “We are witnessing significant political shifts, and that will also influence the stories we tell. We need to pursue diverse partnerships and collaborations.” C.V.
Animation faces challenges amid cuts and AI evolution
The outlook for animators in Rome conveyed a straightforward but alarming message. “The animation industry has seen a considerable downturn in the past two years, with some even describing a crisis in its business model,” reported Philippe Alessandri, CEO of Watch Next Media, based in France.
Yet on the positive side, while animated films comprise only 8% of annual theatrical releases, they account for a remarkable 22% of ticket sales, according to data from European Audiovisual Observatory analyst Nicolas Edmery. Admissions for animated features have not only recovered but exceeded pre-pandemic levels, despite a significant decline in live-action box office.
Nevertheless, numerous animation studios are struggling to stay afloat, with sites such as Scotland’s Axis Studios—responsible for Marvel’s new streaming series “Eyes of Wakanda”—announcing bankruptcy this week, joining the ranks of studios including France’s TeamTO and U.K.’s Jellyfish Pictures, which produced animation for DreamWorks’ “Dog Man.”
Everett Collection
These adverse circumstances are not limited to the animation sector, with Barbara Tonelli of French financial institution Coficiné asserting, “The crisis transcends just animation; it’s affecting all companies.”
Nonetheless, Alessandra Principini, a fundraiser for Italy’s Movimenti Production, underscored the necessity for increased investment in theatrical animation as Alessandri pointed out that “commercial networks are retreating from the animation sector” as younger audiences migrate en masse to platforms that are less invested in animated content.
However, Alessandri remains optimistic, emphasizing, “We achieve billions of views on YouTube. Our influence is significant.”
With the impending adoption of AI across the industry, the future seems uncertain, yet Principini argued that animation professionals must remain vigilant and embrace the accompanying changes: “This is a pivotal moment of transformation, and we must not fear it. We have to take new risks.” C.V.
