MIA Market 2024: Ten years of driving the Italian content industry

Founded in 2015 and grown through a joint venture between ANICA (Italian Association of Film, Audiovisual, and Digital Industries) and APA (Italian Audiovisual Producers Association), MIA | Mercato Internazionale Audiovisivo is celebrating its tenth anniversary this year in Rome, from October 14th to 18th, 2024, at its historic venues of Palazzo Barberini and Cinema Barberini. "Year after year, MIA has become a destination for international players eager to discover some of the most exciting topics and anticipated trends in our industry," said Gaia Tridente, Director of the event. Tridente also emphasized that, for the first time, each division—Cinema, Documentary, Drama, and Animation—is truly working on an international showcase. "When we first developed MIA's program, it was primarily designed to present and promote the best of Italian shows and films. As MIA becomes increasingly international, we are also spotlighting European productions alongside Italian ones. I truly hope the selection will captivate all the delegates," she added.

Over the past 10 years, more than 100 audiovisual works have been produced following their participation in MIA's Co-Production Market—a testament to the success of its selection process and the valuable opportunities the market provides for finding co-producers and international partners (financial, distributive, and creative).

This special edition of MIA has received over 600 project submissions for the Co-Production Market and Pitching Forum—a 20% increase compared to 2023. The number of countries of origin has also increased by 12.5%, growing from 80 to 90. Around 60 projects will be presented from these submissions, spanning animation, documentaries, drama, and film.

This year's edition also introduces four new MIA Development Awards, which different juries will assign, each evaluating projects in the four categories: Animation, Film, Drama, and Documentary. "We wanted to celebrate both the industry and the people who have trusted us over the past ten years. Since MIA's inception in 2015, we've counted every project presented and tracked how many have gone into production or secured creative, financial, co-production, or distribution partners. 104 projects have reached these milestones, including major films, numerous TV dramas, a wealth of documentaries, and several animated films. We are incredibly proud of this, and this year's edition will truly be a landmark for MIA," Tridente concluded.

THE ANIMATION FORCE
On the first day of MIA, alliances and strategies for licensing programs were discussed by Francesco Manfio, General Manager and Producer of Gruppo Alcuni (Italy); Gianluca Ferrara, Head of Italy and International Head of Toys at DeAPlaneta Kids & Family (Spain/Italy); Nele De Wilde, CCO of Audiovisual & Music – Executive Producer at Peyo Company (Belgium); Matteo Olivetti, VP of Licensing Sales & Strategy at Rainbow Spa (Italy); and Simone Fenu, Senior Director of Licensing for Italy, Turkey, Greece, and Malta at Paramount (Italy).

Manfio emphasized that developing a licensing program requires effective communication among producers, broadcasters, and licensing companies. "Television exposure is fundamental to the licensing strategy," he asserted. He also raised another key point: no one will take risks on a property without guarantees. "This is why the market is now very connected to established properties," he explained. Lastly, he highlighted the importance of quality programming: "We cannot rely on luck; the industry is built on daily quality," he stated. In the same panel, De Wilde described the evolution of licensing strategies at Peyo Company since the creation of "The Smurfs" as a comic book character. "It took until the 1980s to develop a licensing program with the series that aired, starting in the U.S. and then globally," she commented.

That year, INPS was established by Peyo's daughter, and Licensing became a business department within the company. "Licensing followed each important content release: the series, the Sony Pictures movies, and now the new film we are working on with Paramount, which will be released next year," she said. Fenu noted that Paramount has invested in "The Smurfs" movie because it is an IP with proven global success, along with "Baby Shark" and "Paw Patrol," "which is still a priority for us," he stated. He also explained how they collaborate within the company. "As a licensing program, we cover all categories—from the broadcaster to finding the right place to position the content, to building thematic segments or being on the right platforms. We can expand this as much as we need because there are several things we must do to ensure the success of our IPs," he affirmed. Olivett i from Rainbow emphasized a 360-degree strategy around IPs. "Our company takes a 360-degree approach. We start with content, which is the foundation, but then we develop publishing, merchandise, beverages, theme parks, and live events to fully support the brand," he explained. He added that the target audience defines the strategy of the consumer products. "When discussing preschool, toys and publishing are the main drivers. For example, we take a completely different approach when launching an educational brand," he said. Ferrara highlighted the transmedia concept. "Transmedia is one of the main drivers for the licensing industry. Certainly, broadcasting is essential and remains the king of media, but now there are many other media and platforms that can help build a strong licensing plan," he said.

Continuing with Animation, Andrea Occhipinti, President and CEO of Lucky Red (Italy); Evelina Poggi, CEO and Producer at Lynx Multimedia Factory (Italy); Maria Carolina Terzi, Co-Founder and Producer at MAD Entertainment (Italy); and Paul Cummins, CEO of Telegael (Ireland), highlighted the potential partnerships and quality productions involving Italian authors, producers, studios, and distributors in feature animation films. Poggi and Cummins presented "Bartali's Bicycle," a new animated feature inspired by the legendary cyclist Gino Bartali, co-produced by Toonz Media Group (India), Lynx Multimedia Factory, Rai Ragazzi, and Telegael. The PG-rated 2D animated feature targets a 7+ and family audience and is set in modern-day Middle Eastern contexts. The 80-minute film follows two young boys from rival communities brought together by their shared love for cycling. Its theme concerns Bartali's remarkable efforts to aid Holocaust victims during World War II. "It's not just a lonely Italian story; it's one of worldwide interest," Cummins mentioned. Occhipinti introduced "I'm Still Alive," based on the autobiographical graphic novel "Sono ancora Vivo" by Roberto Saviano, author of the internationally acclaimed bestseller "Gomorra." It tells the story of a man forced to live under police protection for the past 15 years. It is narrated in the first person, Roberto Saviano's story, an investigative journalist and writer who has changed the global perception of organized crime through his work. "It's a story of his resistance," he commented.ç

To conclude the panel, Terzi discussed the financial programs Italy offers. "We had a 40% tax credit for animation production. Now, the tax credit is available to producers at the start of production for 70%. That's important to note," she said. "In addition to the tax credit, if we exceed the Italian producer share, we still have selective and automatic funds provided by the Italian Ministry. Furthermore, there are many regional funds that can cover part of the financing gap if the budget is spent in those territories," she concluded.