This year’s LA Virtual Screenings 2021 will take place over ten days, from May 11 to 20, with a brand-new design that aims to put a strong emphasis on the incredible creativity that is embedded in Los Angeles and the Hollywood industry.
This year’s LA Virtual Screenings will take place over ten days, from May 11 to 20, with a brand-new design that aims to put a strong emphasis on the incredible creativity that is embedded in Los Angeles and the Hollywood industry. The LA Virtual Screenings 2021 will be powered by the National Association of Television Program Executives (NATPE) and media company Prensario International.
The third edition of Virtual Screenings is already getting global attention with more than 100 industry executives registered (buyers, sellers, producers) and twelve distributors and producers that have confirmed a booth at the online marketplace: TV France International, Caracol TV (Colombia), RTVE (Spain), Snap Media (USA), WWE (USA) and CDC United (Belgium), as well as Turkish drama leaders Kanal D International and Madd Entertainment, Nippon TV (Japan), SIC (Portugal), ORF Enterprises (Austria), and GoQuest (India).
“As we navigate the pandemic, we are delighted to expand our partnership with Prensario to continue to be the global source for content. This partnership elevates our connectivity with top buyers in all sectors of the industry who delight in seeing first-hand fresh content available for distribution in May and in the fall. We look forward to resuming our physical events in Q3 with Budapest in late summer, Miami in January and resuming our partnership with Isabella Marquez in May 2022,” said JP Bommel, President and CEO of NATPE.
The event platform, which has also powered VS Autumn in September 2020, is user-friendly and will give buyers access to five sections. One of the platform’s top innovations has been VS Next, gathering more than a dozen of panels and sessions, as well as remarks from some key global executives.
Topics for the conference portion include: “The Streaming War and the OTT evolution”; the changes in the distribution business; the newcomers in drama production (CEE, Russia, Spain, Japan), as well as audience and content trends in Asia, Latin America and Europe.