CANNES — The picturesque French TV festival Canneseries took a significant leap forward this week by hosting its inaugural standalone edition. This exciting event unfolds without the simultaneous presence of MipTV or Mipcom, which typically provides a substantial buyer base located just steps away from the Canneseries screenings. The change signifies a bold move to establish Canneseries as an independent and influential festival in the television landscape.

Canneseries’ Creative Director, Albin Lewi, emphasized that the festival’s essence lies not in the physical presence of buyers but rather in generating buzz and fostering word of mouth. He stated, “The impact of being in selection is crucial even if buyers are not physically present. You don’t need thousands of attendees to make a market impact.” He further noted that many industry professionals often wear multiple hats, and all the series showcased benefit from the support of international distributors, enhancing their visibility and market potential.

In lieu of traditional buyers, Canneseries introduced new initiatives such as the Producers, Writers, and Composers Clubs, each consisting of numerous professionals eager to network and share ideas. The question remains: did this new approach work effectively? Here are ten insightful takeaways from the revitalized Canneseries, held from April 24-29:

“Duster” Captivates Audiences with a Nostalgic Touch

The highly anticipated U.S. series “Duster” made a remarkable impression on local audiences during the festival. Screening at the iconic Palais des Festivals, the show, created by J.J. Abrams and LaToya Morgan, was hailed as “the best screening ever at Canneseries” by Levi. He remarked on the audience’s ecstatic reaction, stating, “Having a J.J. Abrams series featuring LaToya Morgan and Josh Holloway was a dream come true. It embodies the America we cherish from the ‘70s, and the production quality is outstanding.” This overwhelming success exceeded expectations, leaving viewers ecstatic as they exited the theater. French newspaper Le Parisien rated “Duster” four out of five stars, praising its successful recreation of the 1970s era and its ability to blend entertainment with profound themes like racism and grief. Additionally, Variety featured an engaging interview with Holloway and Morgan, which added to the show’s appeal.

“The Walking Dead: Dead City,” Season 2: Jeffrey Dean Morgan Shines

The fervent enthusiasm for stars like Jeffrey Dean Morgan, who plays Negan, is palpable among international audiences. Morgan, a beloved figure in the franchise and co-lead of “The Walking Dead: Dead City,” attended Canneseries with his family, leaving his handprints on the Cannes Walk of Fame. According to Lewi, “Dead City” was an event centered around Jeffrey Dean Morgan. Some fans expressed their desire for more intense scenes in the early episodes. Premiering on May 5 on OCS in France, Season 2 has already been lauded as “an impressive return where the stakes are higher and our engagement deepens,” as reported by France’s Teleloisirs.

‘Bridgerton’s’ Nicola Coughlan Captivates Fans with Charisma

Despite the busy schedule of industry events, standout moments included masterclasses conducted by prominent figures like “House of Cards” showrunner Beau Willimon and “Industry” producer Jane Tranter. However, no one attracted crowds quite like Nicola Coughlan, the star of “Bridgerton.” Lines for her session began early, with enthusiastic teenage fans filling the spacious auditorium, eager to see the Irish actress. During her time at Canneseries to accept the Commitment Prize awarded by French media company Konbini, Coughlan spoke passionately about her activism, the hit Netflix period drama, and her latest project “Bad Mood,” which earned her a BAFTA nomination.

Exciting Titles Generating Buzz at Canneseries

Among the major French series, Canal+ and Studiocanal received positive reviews for “The Corsican Line,” a gritty mafia thriller set against the stunning backdrop of Corsica, vividly described by creator Pierre Leccia and featuring ‘Furies’ star Lina El Arabi. Other significant contenders included Malin-Sarah Gozin’s “Dead End” and “Reykjavik Fusion,” led by “Severance’s” Ólafur Darri Ólafsson. Cosmopolitan France’s Melanie Bonvard awarded one of her top ratings to the docuseries “Hello Stranger.” The short-form YA series “N00b,” backed by WBD New Zealand and favored by various French critics, was described by Bonvard as a ‘little coming-of-age jewel.’ Additionally, “Malditos,” an action-packed crime thriller set in a gypsy community, is predicted to become a French phenomenon for Max. Belgium’s out-of-competition entry “Holy Shit” also garnered a following, largely due to a standout performance by Belgium’s Mona Mina Leon, who portrays a Tourette’s Syndrome sufferer with ambitions of becoming a school teacher.

Norway Triumphs at Canneseries with Outstanding Performances

During the Canneseries awards ceremony held at the Palais des Festivals on April 29, Norway achieved remarkable success, winning multiple awards. “A Better Man,” directed by Thomas Seeberg Torjussen, clinched the titles of best series and best performance for its star Anders Baasmo. Additionally, Henriette Steenstrup’s “Nepobaby” received accolades for its screenplay and a special interpretation award for its ensemble cast. Furthermore, “The Agent – The Life and Lies of My Father,” directed by Magnus Skatvold, earned the award for best documentary. Once considered behind Denmark and Sweden in terms of quality television, Norway has now firmly established itself as a powerhouse in the industry. All three award-winning titles share a common thread: the ability to address pressing social issues while also entertaining audiences.

Canneseries Shines as a Catalyst for Industry Business

The question arises: did Canneseries truly benefit the business landscape? It was notable that many of the top competing titles secured international distribution deals leading up to the festival, including “Dead End” and “A Better Man.” Others, like “Reykjavik Fusion,” continued to push for pre-sales upon arriving at Cannes, as noted by The Mediapro Studio Distribution. REinvent’s marketing and sales director, Helene Aurø, expressed her satisfaction with the screening of “L/Over,” highlighting the enthusiastic crowd surrounding star actor Krista Kosonen just outside the Grand Auditorium of the Palais des Festivals. At press time, Aurø was engaged in intense discussions to close several territories on the Finnish series, indicating a positive business outlook.

Canneseries: An Essential Fixture in the TV Calendar

Although Canneseries is a boutique event, it has proven itself as a vital addition to the television calendar. Variety noted its ability to easily secure one of the prime tables on the terrace of the Majestic Hotel, an unthinkable feat during the main Cannes Festival. Distributors expressed appreciation for the ongoing presence of Canneseries, with Aurø stating, “It’s wonderful that Canneseries continues to exist, and the organizers do a commendable job bringing people together. The festival is essential for the industry.” She mentioned that next time, she plans to stay longer to engage with the numerous broadcasters who attended the Broadcasters Conclave at Canneseries’ Business event. “We need a spring market,” she insisted, noting that MipTV was an ideal environment to connect with many buyers.

Industry Trends: The Return of Collaborative Partnerships

Canneseries showcased the international television industry amidst a significant transformation. The titles presented highlighted an increasingly appealing financing model, especially for selectively produced foreign-language shows, which focuses on securing partners and pre-sales among local broadcasters in Europe instead of relying solely on U.S. deals with streamers—a challenge for non-English-language productions. For instance, “Reykjavik Fusion,” produced by Iceland’s ACT4 and former Netflix senior executive Erik Barmack’s Wild Sheep Content, exemplifies this trend. Wild Sheep has successfully delivered over 25 projects to 12 international partners during its four years of operation. Although “Reykjavik Fusion” is more traditionally packaged, it has the backing of Iceland’s Símmin and has pre-sold to AMC Iberia and Finland’s YLE. Barmack noted, “Scandinavian shows used to be bundled together with four or five broadcasters. Now, it feels like the band is getting back together.”

U.S. Networks Look Towards European Collaborations

The French television festival also highlighted the growing interest of prominent U.S. players in European productions. “In the past, Netflix and Amazon dominated the industry, which eliminated opportunities for acquisition discussions. Now that everyone is pulling back, there’s not only a receptivity but also an opportunity to rebuild these partnerships,” stated David W. Zucker from Scott Free during an interview with Variety at Canneseries. He added, “I am familiar with the Spanish market but not the French market. There’s a specific show we have where it was incredibly beneficial for me to meet a French producer today and discuss that project. Honestly, it’s an education.”

Industry’s Future: Navigating New Distribution Models

A significant industry shift appears to be developing around a broader array of distribution options. “A key market trend is a desire among producers and networks to pursue more flexible distribution models and windowing, particularly within Europe,” noted Barmack last month. “It’s always wonderful to connect, especially during times like these when we feel the need to unite, especially within Europe—not only to seek collaborations but also to share experiences, foster a love for our industry, and get inspired,” remarked Amelie von Kienlin from Amusement Park Film, who was present at Canneseries’ Producers Club. “While international co-productions are not easy to assemble, as most broadcasters and streamers seek local content, we are witnessing an increased willingness from platforms and broadcasters to collaborate within their home territories, presenting new opportunities.”

Top Deals: The Highlights of Canneseries

*Banijay Entertainment announced three titles at Canneseries – “The Big F*ck Up,” “How to Kill Your Sister,” and “Nothing Can Erase You” – and revealed plans to reboot “Wallander” for a contemporary audience, featuring Gustaf Skarsgård.

*In another significant deal related to a Canneseries participant, Jane Tranter’s Bad Wolf announced a new untitled drama for Apple TV+ inspired by “City,” based on Philip Kerr’s bestselling Berlin Noir series. Written by Peter Straughan of “Wolf Hall” fame, this serial killer thriller is set in vibrant 1928 Berlin and is notably considered an event crime series akin to “Wallander.”

*Mediawan secured key licensing deals for Bille August’s Sam Claiflin-starring adaptation of ‘The Count of Monte Cristo,’ which includes partnerships with PBS Masterpiece (U.S.), UKTV (U.K.), TVE (Spain), and RTS (Switzerland). Closing Canneseries on April 29, the series has also been acquired by all five Nordic public broadcasters: SVT, NRK, DR, YLE, and RUV.

*Just prior to Canneseries, Federation Studios secured international distribution rights for “Dead End,” the latest genre-blending project from Malin-Sarah Gozin (“Tabula Rasa”), whose original series “Clan” inspired “Bad Sisters.” The producer hinted at a potential English-language remake of Tabula Rasa, as discussed at Cannes.

*SND has acquired worldwide distribution rights to “My Wife is a Spy,” a high-concept action comedy featuring Marie Gillain (“Under the Influence”), which had its world premiere at Canneseries.

*Wild Bunch TV has taken on the Spanish crime thriller series “The Clan Olimpia,” starring breakout star Zaira Romero as a housewife-turned-drug lord, along with “Single Bells,” produced by De Mensen (“Undercover,” “Hotel Beau Séjour”).

*Angelina Jolie and Ellie Golding are involved in “Bee:Wild,” an environmental documentary directed by Rebecca and Josh Tickell, which is headed for SXSW London.

*Producer and NRK drama chief Marianne Furevold Boland unveiled its lineup for 2025-26, featuring Canneseries’ “A Better Man.”

*Canneseries competition winner “Nepobaby,” from “Pørni’s” Henriette Steenstrup, has secured initial sales, being acquired by Be.television for Belgium and RÚV for Iceland.

*“Null47,” a youth/YA focused Norwegian streamer, has greenlit Season 2 of Beta Movie-sold “Rebound,” a drama exploring breakup trauma.

*Producer Marika Makaroff, known for “Moominvalley” and “L/Over,” is set to work on “Love Is…” under the rebranded Gutsy Pictures.