APA report presentation
On the second day of MIA – Mercato Internazionale Audiovisivo, APA (Associazione Produttori Audiovisivi) presented its sixth annual Report on National Audiovisual Production, revealing that the value of Italian audiovisual production has nearly doubled since 2017, surpassing 2 billion euros. Production volumes across the three main distribution channels have grown compared to 2022: television remains the most important, thanks to entertainment and other unscripted genres. Meanwhile, film production increased by 21%, Video on Demand platforms by 16%, and TV by 8%. The growth of Italy's audiovisual industry is undeniable: with revenues exceeding 12 billion euros in 2023, the industry saw a 20% increase compared to the previous year. Television continues to lead, generating 8.2 billion euros in revenue (71% of the total market), while online platforms (AVoD and Pay VoD) reached 2.8 billion euros (24% of the market). The remaining share comes from cinema, experiencing a solid recovery after the pandemic.
"In 2024, the Italian audiovisual market has entered a new phase of development," commented Chiara Sbarigia, President of APA. "The growing demand for content and tax incentives have been key drivers in strengthening the sector in recent years, which is undergoing significant transformation. A stronger focus on product quality and producing content that resonates beyond national borders are essential for enhancing the rich legacy of the Italian audiovisual market and boosting its global competitiveness."
KIDS AND YOUNG CONTENT BOOM
The report highlights a significant expansion in productions targeting younger audiences, with a 70% increase in Kids & Early Teens fiction content hours in 2023. Regarding Kids TV, Warner Bros. Discovery remains the most diversified broadcaster, with 42% of titles across its Kids channels. At the same time, Rai continues to lead the airing of original productions, such as the Italian animated series "Leonardo Da Vinci" from Gruppo Alcuni. Among the most-produced genres in Italy, serials dominate, followed by Teen and Crime genres. Genres gaining traction among producers and audiences include Period dramas, Biopics, and Romance. Netflix and Paramount+ are the fastest-growing OTT platforms in terms of titles and hours of produced content.
APA conducted the study with support from research institutes such as eMedia, Ce.R.T.A., Symbola, O&O – Oliver & Ohlbaum Associates, and Geca Italia. Speakers at the presentation included Maria Pia Ammirati (Director of Rai Fiction, Rai), Eleonora Andreatta (Vice President of Italian Content, Netflix), Alessandro Araimo (Executive Vice President – Managing Director Italy & Iberia, Warner Bros. Discovery), and Daniele Cesarano (Director of Fiction, RTI – Mediaset).
THE RISE OF FAST CHANNELS
In a rapidly evolving industry, the conversation around FAST TV's role is timely, as it could redefine how content is distributed and consumed. MIA hosted a panel exploring the new landscape of FAST TV models, discussing their current role and how television's origins, initially designed to advertise products to a mass audience, may offer insights into its future. Cedric Monnier, CEO and Co-founder of Okast (France) shared that the company builds, distributes, and monetizes FAST channels for operators and content owners across Europe. Cristina Sala, Italy Country Lead for Samsung TV Plus, noted they were the first FAST platform launched in Italy and now offers 150 channels locally and 2,000 channels across Europe. Mauro Panella, Co-founder of FAST Channels Network (Italy), shared that the company, launched in June 2023, focuses exclusively on FAST channels, helping content owners and rights holders to launch and monetize their channels. They plan to launch two proprietary channels soon.
Antonella Dominici, SVP Streaming Italy and South EMEA at Paramount+ and Pluto TV, highlighted that Pluto TV operates in 35 countries with over 400 content partners and offers 700,000 hours of content globally. Italy has 130 channels featuring key IPs. She noted, "At Paramount, we aim to reach consumers wherever they are, and FAST channels allow us to continue engaging audiences with content now considered part of our library, which remains highly appealing." Sala pointed out the rapidly evolving FAST industry: "The future lies not only in FAST channels but also in rebroadcast channels, with content quality improving significantly." Dominici added that major broadcasters are joining FAST, with Paramount focusing on curating a balance between owned and acquired content to maximize monetization.
THE CREATIVES ALLIANCE
In 2021, nine independent production companies from around the world united to form The Creatives, an alliance aimed at reshaping the film and TV landscape. Three years later, they gathered to discuss their core principles and future plans. Carole Scotta, Founder and Producer at Haut et Court (France), recalled how increasing market concentration led them to join forces. Recently, media executive Romain Bessi (Newen, StudioCanal) came on board as CEO. This decision highlights the unique nature of the alliance, which remains fully owned by producers, not tied to networks or equity investors. Bessi pointed out how this ownership model allows them to retain creative freedom, describing the current audiovisual market as more selective. "Streamers are spending less and concentrating their investments on experienced producers like The Creatives who have strong relationships with top talent."
Leontine Petit, CEO of Lemming Film (Netherlands/Belgium), noted that the alliance enables companies from smaller territories to be involved in more significant projects. "Being part of The Creatives gives us the opportunity to work on culturally significant projects that matter on a global scale," she added. Synnøve Hørsdal, CEO of Maipo Film (Norway), emphasized the importance of shared values within the group. "We believe in telling stories that maintain healthy democracies, which is more important now than ever," she concluded.
FRANCE TÉLÉVISIONS & RAI: A FIRST COLLABORATION
Public broadcasters Rai Documentari and France Télévisions announced their strategic partnership at last year's MIA, and now their first co-productions have been unveiled: "The Force of Destiny," directed by Anissa Bonnefont, which is currently in production, and "The Match," which is in development. Antonio Grigolini, Head of Documentaries at France Télévisions, expressed his satisfaction with the partnership, highlighting their desire to "push editorial boundaries" and attract younger audiences. Myriam Weil, Chief Documentaries Officer at Federation Studios, and Francesco Melzi d'Eril, CEO of MDE Films, elaborated on "The Force of Destiny," a documentary that goes behind the scenes of the production of Verdi's opera La Forza del Destino at La Scala, which will premiere in 2025. "I'm fascinated by the people behind the scenes of this immense production, and I felt there was a powerful story to tell," said director Anissa Bonnefont.
The second project, "The Match," focuses on the historic football rivalry between Italy and France. "It's a story filled with drama, friendship, and mutual respect, which rarely happens in co-productions," Grigolini explained.
By Romina Rodriguez from Rome
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