MIA | Mercato Internazionale Audiovisivo kicked off its 11th edition today in Rome, offering a rich and diverse program with participation from leading professionals and major companies in the international audiovisual sector. This year, professionals from 60 countries are attending the event, including delegations that are participating for the first time, as Cuba and Mexico. "We are hosting the Cuban delegation which will do all the meetings with all the key players in Italy," said Gaia Tridente, director of event. "We want to raise and elevate our quality year after year, reaching an even larger audience with wider geographical representation,” she explained.
The week-long market will feature more than 80 events, including panels, conferences, research presentations, seminars, workshops, training sessions, keynote speeches, and round tables, alongside networking opportunities and film screenings. “What we try to do this year is keep focusing on content as usual, bringing the best projects from all around the world,” Tridente added.
This year, around 500 projects were submitted for the Co-Production Market and Pitching Forum. Of these, 62 will be presented across Animation, Documentary, Drama (serial content), and Feature Film. Additionally, 44 titles have been selected for the five showcases dedicated to animation, documentaries, TV formats, and series. Altogether, more than 100 projects will be featured in MIA’s official sections, excluding the additional selection of titles that will be unveiled in this edition’s new programs.
Chiara Sbarigia, President of APA, declared: “Today more than ever, Italian producers are called upon to compete in global markets, where the playing field of competitiveness is defined by creative and productive quality, as well as by the capacity for content innovation. Over the past decade, the national audiovisual sector has undergone a structural leap forward, focusing on content capable of reaching diverse audiences while at the same time enhancing its own cultural roots. APA’s mission remains to support and promote this excellence, helping to build images and tools that strengthen companies’ competitiveness and create new opportunities for emerging talent. When we established MIA 11 years ago, this was the goal we had in mind, and we hope it will continue to accompany the qualitative growth of audiovisual enterprises.” Alessandro Usai, President of ANICA, declared: “This eleventh edition of MIA represents a particularly significant moment for me: it is my first time at the Market as President of ANICA, and I am proud to accompany the Italian audiovisual industry to an event that is now recognized as a strategic international platform. MIA is a unique place, capable of connecting talents, stories, and projects from all over the world, creating new opportunities for growth and collaboration. In a complex and competitive global context, MIA’s ability to innovate and anticipate changes in the sector makes it an essential point of reference. ANICA will continue to firmly support this path, which enhances Made in Italy and strengthens Italy’s role as a creative and production hub at the center of international dynamics.”
Gaia Tridente concluded: “MIA | Mercato Internazionale Audiovisivo presents its 2025 edition, designed to provide concrete tools for industry professionals: more targeted networking, highly curated matchmaking sessions, new pitching forums, and executive training programs. In a global landscape marked by major transformations, shifting financial balances, fragmented audiences, redefined windows, and technological advances, MIA chooses to move forward, strengthening its role as an industrial accelerator and international meeting point. Alongside its core activities, the 2025 program introduces dedicated focuses on sustainability and the applications of AI across the entire creative and production chain. It launches a new market program for literary adaptations, designed to connect publishers, agencies, and producers. The goal is to expand the pool of stories and intellectual properties, turning ideas and talent into market-ready projects through immediately deployable expertise and effective relationships. MIA is not just a curated market: it is a cultural infrastructure where projects grow from their embryonic stage into works for cinema, television, and digital platforms. By fostering exchanges and connections, MIA generates both industrial and cultural value and reinforces Italy’s role as a European and international hub of creativity.”
THE BRAND EXPERIENCE
As part of the Animation division, a two-part panel placed brands at the center of the conversation. In the first session, Maura Regan, President of Licensing International, introduced the “licensing-first” approach, showing how locally rooted IP can expand globally through synergies between storytelling, publishing, and audiovisual media. She was joined by Enrico Racca from Mondadori Libri, Francesco Manfio from Gruppo Alcuni, and Mikael Shields from Acamar Films.
According to Regan, film and TV properties account for 43% of the Entertainment and Character sector’s value, while anime, gaming, and social media represent 33%. Together, these segments contribute to a total of $149.8 billion generated by entertainment and character licensing. What stood out most in the data, however, was the imbalance between new and established properties. “New properties only accounted for 20%, while classic and franchise IPs made up 77%,” Regan noted, emphasizing that this trend reflects the industry’s reliance on proven brands. She explained that uncertainty about shifting consumer tastes has led studios and rights holders to lean on evergreen titles and expand existing franchises — citing Jurassic Park as a clear example of how original IPs evolve into long-lasting series. Regan stressed that this focus on familiar, trusted properties continues to anchor the business, as companies seek stability in a volatile market where “sure wins” remain the safest bet.
Mikael Shields, CEO of Acamar Films, underlined the company’s core philosophy of being “creatively led but commercially driven.” Speaking at MIA Market, Shields explained that every Acamar project, like the global phenomenon "Bing," begins with a creative idea designed to resonate with audiences but is developed with strong commercial discipline. As the media landscape becomes increasingly fragmented, he said, relying solely on broadcasters or digital platforms is no longer viable. Instead, Acamar focuses on building multiple points of audience engagement — from books and toys to apps, publishing, and on-demand storytelling — all of which reinforce children’s imaginative connection to the characters and stories they love. Shields emphasized the importance of balancing artistic vision with business rigor, highlighting Acamar’s methodical approach to trademarks, rights management, contracts, and financing. This “dual key system,” he noted, enables collaboration between talented writers, actors, licensing experts, and publishers, creating a sustainable cycle where creative success fuels future growth.He described Acamar’s strategy as one based on enduring collaboration rather than constant reinvention: “It’s much better to solve problems and build long-term partnerships than to find a new partner every year,” he said. For Shields, success ultimately depends on three things — audience, creativity, and collaboration — all sustained by professionalism, mutual respect, and, as he put it, “a little bit of luck and pixie dust.”
Francesco Manfio, CEO of Gruppo Alcuni, reflected on how the company’s licensing strategy for Cuccioli was built long before the current rules of brand management and cross-media storytelling existed. He recalled that when "Cuccioli" was created in 2002 — followed by Mini Cuccioli and new spin-offs — the team was already thinking about licensing and multi-platform expansion, even though the term “cross-mediality” was not yet used. Today, the property spans over 400 episodes and has reached audiences in more than 130 countries. Manfio announced that a new Cuccioli series will debut in 2026, returning to the project’s original spirit and produced entirely in Italy using 2D animation. Over the years, the property has evolved through different artistic and technical approaches, while maintaining a strong presence across loyalty programs, food licensing, and publishing — all of which demonstrate its ability to reach diverse markets. He explained that "Cuccioli" now exists in several worlds: "Mini Cuccioli" for preschoolers aged 2 to 4, "Mini Dino" for slightly older children, and "Cuccioli" for children aged 5 to 7. Each version is written specifically for its audience, supported by collaboration with a team of psychopedagogists who guide the creative process to ensure emotional and educational resonance. For Manfio, this long-term success confirms the strength of Italian creativity and the value of a cross-media approach that extends beyond television to include books, games, digital platforms, and social media. He also noted a new emotional connection emerging among adults who grew up with Cuccioli and are now introducing it to their own children — a testament, he said, to the property’s lasting cultural impact.
The second session, Intergenerational IPs Across Media, focused on the longevity of franchises and their evolution over time. Iginio Straffi, founder and CEO of Rainbow Group, reflected on the early days of building his studio and the vision behind "Winx Club". “Thirty years ago, we started this journey, and it was definitely not easy,” he recalled. Inspired by global phenomena like Pokémon and major American studios, Straffi set out to create not just content, but original IPs that could grow into full-fledged brands. Without major financial resources at the time, his goal was to develop one meticulously crafted property that could expand across multiple media — an idea that would later become the foundation for Winx Club’s worldwide success. Straffi explained that his strategy was rooted in understanding how multiplatform storytelling amplifies a brand’s popularity. “It’s not only a matter of revenues,” he said, noting that when children engage with a property through toys, books, trading cards, or video games, they live the adventure every day, far beyond the TV screen. This cross-media approach, he added, was essential to making Winx Club a lasting global phenomenon, connecting generations of fans and setting a model for European animation on the world stage.
Hélène Juguet, from Ubisoft Film & TV Paris, discussed the distinct challenges of adapting different types of IPs for the screen. She highlighted “Rabbids”, a kids’ property originating from the Rayman video game franchise, which transitioned into a successful TV series within seven years. Targeting children aged 6 to 9, the series benefited from the Rabbids’ adaptable “DNA,” allowing them to fit into diverse situations while maintaining humor and sketch-driven storytelling, making the adaptation process relatively smooth. By contrast, adult-oriented properties such as “Splinter Cell”, set to release on Netflix, present a very different challenge. Juguet explained that avid gamers experience interactive storytelling in unique ways, creating individual narratives based on their play styles. This variability makes it challenging to replicate a single story for screen adaptation, necessitating careful consideration of audience expectations and inventive approaches to translate immersive video game experiences into engaging television content.
Diego Ibáñez Belaustegui, from DeAPlaneta, highlighted the strategic reasons behind investing in each of the company’s IPs. He noted that every property, from "Milo" to "Mia & Codie" and "Miraculous", has its own origin and appeal, whether it comes from books, local creations, or collaborations with partners like Tencent in Asia. Ibáñez emphasized that the key is building franchises that resonate globally, explaining that even European IPs, which historically have struggled to travel abroad, can achieve international success with the right strategy.
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