{"id":37984,"date":"2026-09-30T10:53:16","date_gmt":"2026-09-30T08:53:16","guid":{"rendered":"https:\/\/iberseriesplatinoindustria.com\/?p=37984"},"modified":"2026-09-30T12:21:22","modified_gmt":"2026-09-30T10:21:22","slug":"iberseries-platino-industria-arranca-las-actividades-de-su-sexta-edicion-reivindicando-la-fuerza-de-las-historias-locales-para-conquistar-audiencias-globales","status":"publish","type":"post","link":"https:\/\/iberseriesplatinoindustria.com\/en\/iberseries-platino-industria-arranca-las-actividades-de-su-sexta-edicion-reivindicando-la-fuerza-de-las-historias-locales-para-conquistar-audiencias-globales\/","title":{"rendered":"Iberseries &amp; Platino Industria kicks off its sixth edition by championing the power of local stories to captivate global audiences"},"content":{"rendered":"\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>K-Drama breaks down borders with deeply Korean stories capable of connecting with universal emotions<\/strong><\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>YouTube asserts its role in the audiovisual industry: \u201cWe learned that virality builds culture\u201d<\/strong><\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Mexico showcases incentives, infrastructure and talent to strengthen its position as a destination for international productions<\/strong><\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Iberseries &amp; Platino Industria<\/strong> has kicked off the activities of its sixth edition by focusing on an increasingly interconnected audiovisual industry, in which local identity, new ways of reaching audiences, co-production and alliances between territories are becoming tools for boosting the international circulation of stories.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first day of the leading industry event for the Ibero-American audiovisual sector showcased the ability of content deeply rooted in its places of origin to cross borders, from the international phenomenon of K-Drama to <strong>Amazon MGM Studios<\/strong>\u2019 commitment to local productions with global ambitions. Creators, platforms and analysts, from different perspectives, agreed on the value of authenticity, while new analysis and distribution tools are making it possible to better understand audiences and connect content with viewers across different markets.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">YouTube addressed its evolution from virality to becoming an increasingly integrated player in the audiovisual industry, while Mexico, the Country in Focus of this edition, showcased the strengths of its production ecosystem, with incentives, infrastructure, talent and co-production capabilities. The day also examined new financing models, the role of IPs and co-productions, marketing strategies based on viewer intent, and public and private investment as drivers of growth in the sector.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">El K-Drama break frontiers<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The international expansion of Korean audiovisual content and its ability to connect with viewers from very different cultures were at the heart of the session \u201c<strong>En el foco del K-Drama: De Corea al mundo: Hong Jong-chan y el \u00e9xito global del contenido coreano<\/strong>\u201d. Director and CEO of <strong>Cloud Films<\/strong> <strong>Hong Jong-chan<\/strong> discussed the experience of \u201cTeach you a lesson\u201d and the international ambition with which it was conceived: \u201cWe actually made it thinking that it was a story that viewers in Spain, which is even farther away from us, or in countries with other languages, could also identify with.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This connection became apparent after its release, when it prompted two contrasting responses: \u201cOne was whether things like this really happened in South Korea, and there was another completely opposite reaction, saying that things are similar in other countries too, so I realised that problems in the education system are also serious elsewhere.\u201d For <strong>Hong Jong-chan<\/strong>, this identification can also be explained by the fact that the conflict presented in the series goes beyond the strictly educational sphere to address issues affecting society as a whole.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-1024x683.jpg\" alt=\"\" class=\"wp-image-37988\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-767x511.jpg 767w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/20260929_IBERSERIES_K-DRAMA_SPOTLIGHT_carlaoset_12-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Hojin Kwon<\/strong><strong>, Senior Executive Director of the<\/strong> <strong>Korean Association for Broadcasting &amp; Telecommunication<\/strong><strong>, put into perspective the extraordinary international journey experienced by South Korean fiction over recent decades. \u201cI have been working for 35 years to introduce Korean content abroad, but 10 years ago I would never have imagined that I would have the opportunity to speak to you about Korean content on this stage.\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Kwon, the key to this transformation lies in stories\u2019 ability to resonate beyond borders: \u201cNo matter how far away a country may be, the most important thing is for that story to have something that resonates with viewers around the world.\u201d As an example, he recalled his own experience with <strong>Lee Jang-Soo<\/strong>\u2019s drama series \u201cEscalera al cielo\u201d, which he distributed in South America around 25 years ago, \u201cand it is still broadcast there and remains extremely popular, which shows just how far stories can travel, even between distant countries.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>KOCCA<\/strong> Director <strong>Miyoung Byoun<\/strong> likewise highlighted this balance between cultural distinctiveness and universality as one of the driving forces behind the international circulation of content. \u201cI believe that any country can create unique productions with content that fits the characteristics of a particular culture.\u201d<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>YouTube, from viral to industry<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">YouTube is no longer merely the place where a video can go viral; it has become an increasingly integrated part of the audiovisual industry\u2019s strategy. <strong>Pedro Pina<\/strong>, Vice President of <strong>YouTube EMEA<\/strong> and YouTube<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Portugal, reviewed this evolution, from the first global phenomena born on the platform to its current relationship with broadcasters, production companies and distributors, highlighting one of the major lessons learned over the years.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe learned that virality builds culture,\u201d as well as an ability to generate conversation, communities and shared phenomena which, as he explained, has ultimately transformed the way the industry thinks about the relationship between content and audiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But YouTube\u2019s value does not lie solely in its immediate impact, and Pina highlighted the platform\u2019s ability to extend the lifespan of content and bring it before new generations of viewers: \u201cContent lives on YouTube and new content continues to be generated from it,\u201d meaning that catalogues, programmes, films or excerpts from existing productions can find new audiences and generate new exploitation opportunities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">YouTube also makes it possible to turn viewers into fan communities and take content beyond its markets of origin. Pina highlighted this global reach using Korean culture as an example: \u201cSuddenly, something from South Korea, such as \u2018Gangnam Style\u2019, was conquering the world thanks to the platform.\u201d At the same time, new formats and creators have turned the platform, in Pina\u2019s words, into \u201ca blank canvas for new creativity,\u201d expanding the possibilities for production, promotion and engagement with viewers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"683\" data-id=\"37990\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-1024x683.jpg\" alt=\"\" class=\"wp-image-37990\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Keynote-Pedro-Pina-El-aliado-estrategico-Juan-Carlos-Lucas-8749-2048x1365-1.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Following his presentation, the conversation shifted to the industry itself with a panel featuring <strong>Rosa Rom\u00e0<\/strong>, from <strong>CCMA<\/strong>; <strong>Gianluca Curti<\/strong>, from <strong>Minerva Pictures<\/strong>; and <strong>Hugo Figueiredo<\/strong>, from <strong>RTP<\/strong>. From the perspectives of public broadcasting, production and distribution, the executives discussed the opportunities offered by collaboration between the traditional and digital audiovisual ecosystems: from reaching younger audiences and revitalising catalogues to experimenting with formats and generating new revenue streams.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>M\u00e9xico, con incentivos, infraestructuras y talento para recibir producciones internacionales<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The combination of tax incentives, efficient administrative management, the availability of locations, infrastructure, technology and creative teams with talent and commitment makes Mexico a suitable destination for both domestic and international productions, representatives of the Mexican audiovisual industry agreed during the sixth edition of Iberseries &amp; Platino Industria.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the first day of the event, held at the Matadero Madrid cultural centre, the panel \u201c<strong>M\u00e9xico, pa\u00eds en foco, producir en M\u00e9xico est\u00e1 ching\u00f3n. Nuevas condiciones para competir<\/strong>\u201d provided an insight into the context in which, in 2025, 235 feature films, 66 series in production and release stages, and 63 co-productions with 27 countries were made.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe are at a point where the State is no longer asking itself how to help the audiovisual sector, but rather how the country can be strengthened by promoting the audiovisual industry; Mexico has become more professional, professionals are being trained to work in a coordinated manner, and industry associations are coordinating with one another,\u201d explained <strong>M\u00f3nica Lozano<\/strong>, CEO of <strong>Alebrije Cine y Video<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to <strong>Jos\u00e9 Miguel \u00c1lvarez<\/strong>, Managing Director of <strong>EFD Studios<\/strong>, the country has federal legislation in this area, as well as established legislation in Mexico City, which is beginning to be replicated in other states such as Jalisco, Morelos and others, providing incentives for productions \u201cand making it cheaper to produce\u201d compared with other locations. \u201cThat also makes it an attractive country for world cinema.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" data-id=\"37996\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9966-1.jpg\" alt=\"\" class=\"wp-image-37996\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"683\" data-id=\"37997\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-1024x683.jpg\" alt=\"\" class=\"wp-image-37997\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Conferencia-Mexico-pais-en-foco-Juan-Carlos-Lucas-9965-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guillermo Salda\u00f1a<\/strong>, Managing Director of the Mexico City Film Commission, explained that new tax incentives for productions in the Mexican capital will soon begin to be reviewed. The city carries out extensive support and management work for production companies, in an activity that generated an economic impact of 533 million dollars in 2025, compared with 495 million dollars in 2024.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For her part, <strong>Andrea Bilbat\u00faa<\/strong>, CEO of <strong>New Art Group<\/strong>, highlighted the role of collaboration between countries in harnessing the potential of the incentives being generated in Mexico. In her case, with offices and operations in both Mexico and Spain, this opens the door to telling \u201ctransatlantic stories without barriers, but rather by being allies and understanding the possibilities\u201d of each project.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Katina Medina Mora <\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mexican filmmaker and television series director <strong>Katina Medina Mora<\/strong> spoke at the sixth edition of Iberseries &amp; Platino Industria in favour of productions providing opportunities for new generations of directors and audiovisual content creators. After recounting her personal experience of moving from Mexican cinema to directing international projects, she stressed that she had experienced first-hand what those initial opportunities can mean.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During \u201c<strong>Keynote Katina Medina Mora: Dirigir sin fronteras, del cine independiente mexicano a las series globales<\/strong>\u201d, held at the Matadero Madrid Auditorium, she emphasised that \u201cproducers and the people who make the decisions have the power to change the lives and careers of many people who want to do important things and want to do them from the heart. We need to do more by providing those opportunities; we need to support the new generations more.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-1024x683.jpg\" alt=\"\" class=\"wp-image-37998\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/KEYNOTE-KATINA-MEDINA-MORA_Juan-Carlos-Lucas-12-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In conversation with <strong>Axel Kuschevatzky<\/strong>, CEO of <strong>Infinity Hill<\/strong> (United States), she explained that moving from filmmaking to television content, and from one specific country to others with very specific approaches to production and directing, requires great openness, adaptability and a willingness to work as a team, collaborating with everyone involved in a project.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>SETT registra inversiones en 15 proyectos de industria audiovisual en Espa\u00f1a<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Spanish Society for Technological Transformation (SETT) has investments in 15 audiovisual industry projects in Spain, to which it has allocated \u20ac226 million, with the capacity to mobilise up to \u20ac445 million, as part of its investment and support strategy aimed at strengthening companies in the sector.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the first day of the sixth edition of Iberseries &amp; Platino Industria 2026, the organisation, which operates under Spain\u2019s Ministry for Digital Transformation and the Civil Service, presented the results of its investment activity during the conference \u201c<strong>Invertir para crecer: SETT y el audiovisual espa\u00f1ol<\/strong>\u201d, where its Audiovisual Director, <strong>Mar\u00eda Coronado<\/strong>, highlighted the importance of contributing, through SETT, to the consolidation of a strong and solid industrial fabric in the country\u2019s audiovisual sector.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the event, held at the Matadero Madrid cultural centre, she explained that these investments are made under a public-private partnership model, both through capital increases in companies and through the creation of some of them. Eight are content creators, three specialise in animation and the remainder operate in other areas of the value chain. Of all the projects receiving investment, 10 involve Spanish companies and five international companies, with 65% of the total amount allocated to domestic companies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Against this backdrop, representatives of companies backed by SETT shared their experiences as part of this ecosystem. <strong>Santiago Garc\u00eda<\/strong>, CEO of <strong>\u00cdtaca Films<\/strong> (Mexico), explained that the value it provides has enabled his company to establish itself in Spain as a \u201cplayer\u201d coming to collaborate with the Spanish industry, noting that \u201cSpain is becoming a strong audiovisual hub.\u201d Meanwhile, <strong>Diego Ib\u00e1\u00f1ez Bel\u00e1ustegui<\/strong>, Chief Brand Officer of <strong>DeAplaneta<\/strong> (Spain), highlighted his company\u2019s continued work on the preschool animated series \u201cMilo\u201d, which now reaches 170 countries, a challenge that requires careful work on each individual piece of content while already considering other transmedia content formats.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Prime Video pisa el acelerador: la acci\u00f3n local conquista a la audiencia global<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Amazon MGM Studios<\/strong> has made local productions one of the pillars of its international strategy. <strong>Javiera Balmaceda<\/strong>, Head of International Originals for Latin America, Canada and Australia, and <strong>Nicole Morganti<\/strong>, Head of International Originals for Italy and Southern Europe, discussed the keys to enabling stories deeply rooted in their markets of origin to connect with audiences around the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of those keys is identifying genres capable of travelling internationally without sacrificing local identity. Action is one of the clearest examples. Balmaceda and Morganti pointed to titles such as the films \u201cZeta\u201d, produced in Spain, and \u201cVenganza\u201d, made in Mexico, as examples of how it is possible to compete in a genre with an enormous international offering by starting from local stories, talent and settings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cZeta\u201d, directed by <strong>Dani de la Torre<\/strong> and starring <strong>Mario Casas<\/strong>, <strong>Luis Zahera<\/strong> and <strong>Mariela Garriga<\/strong>, builds its plot around a CNI agent and a secret operation connecting Spain and Colombia. Its performance has reinforced Prime Video\u2019s commitment to this type of production: Amazon has described it as its most-watched local Original film in Spain over the last 365 days and has already confirmed a second instalment, once again directed by <strong>Dani de la Torre<\/strong> and starring Casas and Zahera.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-1024x683.jpg\" alt=\"\" class=\"wp-image-38001\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-08-2048x1365-1.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The Mexican case of \u201cVenganza\u201d points in the same direction. Starring <strong>Omar Chaparro<\/strong>, <strong>Alejandro Speitzer<\/strong> and <strong>Paola N\u00fa\u00f1ez<\/strong>, the film follows a member of the special forces who, after the murder of his wife and an unexpected lottery win, uses his newfound fortune to pursue those responsible. The production remained in Prime Video\u2019s Top 10 for eight weeks, according to data shown by the platform itself.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the <strong>Amazon MGM Studios<\/strong> executives, the challenge is not simply to replicate formulas that already work in the United States, but to demonstrate that markets such as Spain and Mexico have the talent, production capabilities and stories required to generate content with international potential. This equation involves globally recognisable genres, the choice of talent and, above all, an emotional dimension that enables a story to work beyond its market of origin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Crece el inter\u00e9s de inversores aut\u00f3nomos por la industria audiovisual espa\u00f1ola<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Investment funds in Spain are beginning to highlight growing interest among self-employed investors in participating in the financing of audiovisual projects through tax incentives that allow them to deduct taxes while at the same time becoming involved with a quality product from one of the country\u2019s strongest industries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the first day of the sixth edition of Iberseries &amp; Platino Industria, the panel \u201c<strong>Estructuraci\u00f3n financiera: el nuevo mapa de los fondos en Espa\u00f1a<\/strong>\u201d highlighted that Spain\u2019s current tax policy for productions has, on the one hand, enabled the creation of a financial ecosystem for films and series and, on the other, made the country an attractive destination for foreign investors.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Explaining the investment structures currently being used, <strong>Andr\u00e9s S\u00e1nchez Pajares<\/strong>, CEO of <strong>Filmika Audiovisual<\/strong> (Spain), noted that most operators offer participation through tax incentives that guarantee a return, although his organisation has also opted for risk investment, which does not provide a short-term return and depends on other long-term factors, but \u201cit is working and there is room for greater investment.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Juan Antonio Garc\u00eda Peredo<\/strong>, Managing Partner of <strong>Elipsis Capital<\/strong> (Spain), explained that attracting investors to audiovisual projects has been a highly structured and not always easy process, using tax incentives to finance projects with investors including companies, self-employed individuals, partners at law firms, notaries and insurance companies. \u201cIt is a different product from others, one that has a guaranteed return, and that creates an appetite for investment, because they do it to save on taxes and they feel connected to the product.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For his part, <strong>Miguel Doria<\/strong>, from <strong>Arcano Asset &amp; Capital Finance<\/strong> (Spain), agreed that \u201cthere are more individual investors, whereas a few years ago companies were the majority. There has been an evolution and more people are investing. They like to talk about it and they go to premieres, and that creates a knock-on effect.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The speakers also agreed that tax incentives are appropriate for continuing to promote investment and that they could even remain in place in the event of a future political change in Spain\u2019s government.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Dos de cada tres coproducciones audiovisuales internacionales se realizan entre dos mercados<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">International audiovisual co-production remains concentrated among a relatively small group of markets, despite having become a widespread practice globally. This was explained by <strong>Gloria Sal\u00f3<\/strong>, Director of Production and Content Consulting at <strong>GECA<\/strong>, and <strong>Luc\u00eda G\u00f3mez<\/strong>, Content and Formats Analyst, who noted that a total of 50 countries participated in co-productions between 2023 and 2026. The United States leads the market with 125 titles, while Spain accounts for 25 co-productions and Mexico for 22. In addition, two out of every three productions analysed correspond to bilateral agreements between two markets.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drama series lead this model, with 185 titles recorded, although <strong>GECA<\/strong> particularly highlighted the importance achieved by animation, which now ranks second. Suspense and mystery, police and detective stories, and action and adventure are among the most common subgenres, a trend that shows how co-productions seek recognisable narrative codes and universal themes capable of working across different territories.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-1024x683.jpg\" alt=\"\" class=\"wp-image-38002\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/DSC_5435-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The very concept of co-production is also evolving: alongside the traditional model are platform commissions, development partnerships and agreements structured around pre-existing IPs, ranging from fiction formats to books or podcasts. According to <strong>GECA<\/strong>, working with already established intellectual properties helps reduce the perception of risk by starting from stories with existing recognition and a pre-existing potential audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this context, Spain can serve as a gateway to Europe thanks to its financing, incentives and technical capabilities, while Portugal connects Europe with the Portuguese-speaking world, positioning the Iberian axis as a bridge for expanding partnerships between Europe and Ibero-America.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>JustWatch: \u201cLa intenci\u00f3n es el dato\u201d, para conectar cada contenido con su audiencia<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Viewer intent has become one of the most valuable signals for navigating an audiovisual ecosystem increasingly saturated with content. <strong>Ingke Purrmann<\/strong>, co-founder and Chief Revenue Officer (CRO) of <strong>JustWatch<\/strong>, explained that the company starts precisely from users\u2019 willingness to watch a particular piece of content, and even to spend time or money on it, to guide its marketing strategies. \u201cIntent is data. It is a relevant signal that we observe,\u201d Purrmann said. Founded in 2014, <strong>JustWatch<\/strong>\u2019s platform is currently available in 140 countries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Searches, adding titles to watchlists and user clicks provide signals about their tastes and make it possible to build highly segmented audiences. Purrmann used comedy as an example: two viewers may say they like the genre and yet one may prefer irreverent comedies while another prefers sitcoms. \u201cEvery genre has multiple subgenres,\u201d she noted. <strong>JustWatch<\/strong> and <strong>JustWatch Media<\/strong> now identify more than 135 subgenres that can be targeted in campaigns, adapting this segmentation to the specific characteristics of each territory. \u201cSpain is not Germany. Germany is not the United States. Brazil is not the United States,\u201d Purrmann stressed, explaining the importance of localising audiences in each market.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-1024x683.jpg\" alt=\"\" class=\"wp-image-38004\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-1024x683.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-768x512.jpg 768w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Spotlight_Javiera-Balmaceda-Nicole-Morganti_Amazon-MGM-Studios-conexion_JC-Lucas-03-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">This knowledge of viewers is subsequently applied to campaigns that extend beyond the platform itself. <strong>JustWatch<\/strong> works on 450 campaigns annually and receives 50 million visits per year. Based on the signals gathered, it builds an initial audience that can subsequently be expanded to reach similar audiences through digital platforms such as YouTube, Meta and TikTok. In this way, the strategy seeks to connect each title with viewers who have shown signals that they may genuinely be interested in watching it.<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Creadores sin fronteras: lo hiperlocal se abre camino para conectar con audiencias globales<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The panel \u201c<strong>Creadores sin fronteras: Historias con pasaporte global<\/strong>\u201d brought together <strong>Amaya Muruzabal<\/strong>, CEO &amp; Head of Content at <strong>M Content<\/strong>, and screenwriters <strong>Isabel Pe\u00f1a<\/strong> and <strong>Eduard Sola<\/strong> at Iberseries &amp; Platino Industria to discuss different ways of understanding the relationship between authorship and audiences. Muruzabal acknowledged her interest in crossing borders and reaching audiences: \u201cWe always have more auteur-driven interests, interests in expression, but I am very interested in reaching audiences.\u201d Pe\u00f1a starts from the opposite end: \u201cWhen I am writing, I am incapable of thinking about the big picture. I have enough on my plate just trying to find my own version.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sola placed the viewer at a later stage of the creative process: \u201cI can\u2019t forget about the audience, but there has to be something there already; in other words, it is not the starting point.\u201d He also warned of the risk of writing directly for a specific audience: \u201cIf we write for someone in particular, it is as though you were tailoring a suit for them, when what the viewer came to buy is your design, your story, your life, your creation.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Muruzabal advocated for Spanish to gain greater weight in the global industry: \u201cI would love Spanish to become an international reference language, to have the budgets and to move the needle,\u201d and to achieve this, she pointed to the need to \u201cstart telling stories that explore what we have in common,\u201d from a creative perspective and not solely a financial one.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sola championed the power of the local and cited \u201cCasa en flames\u201d as an example, a Catalan-language story about the Catalan bourgeoisie that has resonated with viewers in countries such as Colombia, Ecuador and Belarus. \u201cUltimately, there is something hyper-global in the hyper-local,\u201d he summarised. Pe\u00f1a, for her part, celebrated the fact that successes continue to emerge outside strategies and forecasts: \u201cWhen something breaks out, I applaud loudly.\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>\u201cTrazos ocultos\u201d, el nuevo thriller de Atresmedia y la propuesta de Radio Ambulante Studios para ver una serie con los ojos cerrados en los \u2018Iberscreenings Pr\u00f3ximamente\u2019 de esta primera jornada<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first day of this sixth edition of Iberseries &amp; Platino Industria brought attendees \u201cTrazos Ocultos\u201d, <strong>Atresmedia<\/strong>\u2019s new thriller, the unsettling domestic noir set to arrive in 2027 as one of <strong>Atresmedia<\/strong>\u2019s major fiction projects, starring <strong>Toni Acosta<\/strong> and <strong>Rodolfo Sancho<\/strong>. Set on the island of Tenerife, the fiction centres on the figure of the impostor: a man with an impeccable and seductive fa\u00e7ade, capable of lying and manipulating others in order to sustain a life built on appearances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The new series was written by screenwriters <strong>Sara Cano Escudero<\/strong> and <strong>Paula Fabra Urdiola<\/strong>, creators of \u201c\u00c1ngela\u201d, who explained that the series was originally conceived in Madrid, taking into account the male character\u2019s double life, but following the change in filming location for production reasons, \u201cwe realised that Tenerife has many lives within it.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362-1024x682.jpg\" alt=\"\" class=\"wp-image-38003\" srcset=\"https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362-1024x682.jpg 1024w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362-300x200.jpg 300w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362-1536x1024.jpg 1536w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362-767x511.jpg 767w, https:\/\/iberseriesplatinoindustria.com\/wp-content\/uploads\/2026\/09\/Trazos-Ocultos_@manusevillano_MSM03362.jpg 2000w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">La actriz Toni Acosta, originaria de Tenerife, ha considerado que este papel \u201ces un regalo\u201d, no solo por hacerlo en su lugar natal sino porque constituye un cambio de registro a sus habituales papeles de comedia, pero adem\u00e1s \u201cyo soy de Canarias, soy de ah\u00ed, s\u00e9 de dobles vidas, era el lugar perfecto\u201d. Para Laura Abril, directora Ejecutiva de Ficci\u00f3n y Desarrollo de Negocio Global de Buend\u00eda Estudios, \u201cno se trata de un thriller cualquiera\u201d y ha dicho que de la necesidad de ir a Canarias por tema de financiamiento \u201chemos encontrado una ventaja, lo integramos en la trama\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A su vez, <strong>Montserrat Garc\u00eda<\/strong>, directora de Ficci\u00f3n de <strong>Atresmedia<\/strong>, Espa\u00f1a ha asegurado que \u201cqueremos seguir explorando el thriller emocional, tras \u2018\u00c1ngela\u2019 y \u2018Mentiras\u2019; es un contenido que nos encaja para Atresplayer, son historias ambiciosas, con equipos art\u00edsticos potentes y son historias que viajan muy bien, adem\u00e1s de que quer\u00edamos trabajar de nuevo con Buend\u00eda Estudios\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En la secci\u00f3n de Iberscreenings Pr\u00f3ximamente de esta primera jornada presentaron tambi\u00e9n \u201cC\u00f3mo ver una serie con los ojos cerrados\u201d, una propuesta de Radio Ambulante Studios para adaptar un podcast narrativo suyo a una serie de televisi\u00f3n, a partir de \u201cLas vidas de Maril\u00fa\u201d como caso real.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La historia gira en torno a Maril\u00fa, quien se convierte al islam sola en su habitaci\u00f3n de Monterrey, M\u00e9xico y se casa con un marroqu\u00ed al que conoci\u00f3 en Facebook. Viaja a Madrid, tienen dos hijos y un d\u00eda al amanecer llegan agentes, es esposada y a los ni\u00f1os les dicen que su padre est\u00e1 en una granja. Nueve meses despu\u00e9s, la detienen a ella a la salida del colegio acus\u00e1ndola de enaltecimiento del terrorismo teniendo como pruebas una vida de profunda devoci\u00f3n religiosa. Llega la condena. El Tribunal Supremo la anula, pero la familia sigue hecha pedazos.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Silvia Vi\u00f1as<\/strong>, directora de Desarrollo de Nuevas Producciones de <strong>Radio Ambulante Studios, EUA<\/strong>, comparti\u00f3 con los asistentes c\u00f3mo les lleg\u00f3 la historia a partir de la noticia y c\u00f3mo empezaron a encontrar cada vez m\u00e1s elementos, de manera que ella misma se reuni\u00f3 con la propia Maril\u00fa, cuidando en todo momento la \u00e9tica period\u00edstica. <strong>Patricio Wills<\/strong>, CEO de <strong>W Studios<\/strong>, &nbsp;de EUA apunt\u00f3 que desde el principio vieron una historia potente al ver que alguien en M\u00e9xico se hubiera convertido en musulm\u00e1n, con todo el fervor guadalupano de ese pa\u00eds y que viniera a Espa\u00f1a para casarse con un musulm\u00e1n, \u201cuna mezcla cultural muy interesante\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Juancho Cardona, director General, 11:11 Films &amp; TV, M\u00e9xico, sostuvo que \u201clo importante en este camino fue ver que hay un deseo de coproducir entre M\u00e9xico y Espa\u00f1a, y que, aunque llegue a este pa\u00eds, sigue siendo muy potente e interesante para M\u00e9xico; estamos trayendo el mejor talento y se unir\u00e1 Cecilia Su\u00e1rez, por lo que ser\u00e1 un proyecto de relevancia para ambos lugares y ahora buscamos aliarnos con socios estrat\u00e9gicos aqu\u00ed\u201d<\/p>\n\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>\u201cAmores Perros\u201d pertenece a la memoria de todas las personas que la hicieron posible: M\u00f3nica Lozano<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La primera jornada de esta cita audiovisual concluy\u00f3 con una funci\u00f3n de gala en la secci\u00f3n Iberscreening Funci\u00f3n de Gala de la pel\u00edcula<strong> \u201cAmores Perros\u201d<\/strong>, dirigida por<strong> Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu<\/strong>, multipremiada y una de las principales referencias del cine contempor\u00e1neo mexicano.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Al presentar el filme, <strong>M\u00f3nica Lozano<\/strong>, productora asociada de la pel\u00edcula, ha expresado que es un motivo de orgullo y privilegio poder exhibirse la cinta a 26 a\u00f1os de su estreno y con ello \u201cdistinguir el trabajo de todos aquellos que la hicieron posible, que pusieron su entusiasmo, su rigor y profesionalismo: todos los sin nombre\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En la sala Azcona de la Cineteca de Matadero Madrid, ha recordado que adem\u00e1s del liderazgo de Gonz\u00e1lez I\u00f1\u00e1rritu y del guion de Guillermo Arriaga, hubo muchas personas que participaron de la realizaci\u00f3n, y que como en su momento escribi\u00f3 la tambi\u00e9n productora del filme <strong>Tita Lombardo<\/strong>: \u201cla pel\u00edcula pertenece a la memoria no solo del director y la producci\u00f3n, sino a los que la vivieron; cada testimonio suyo cuenta una historia distinta y todas esas historias forman la verdadera historia de Amores Perros\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lozano tambi\u00e9n ha apuntado que muchas de esas personas contin\u00faan en activo y luchando para que el cine mexicano sea vigoroso y logre el reconocimiento nacional e internacional con sus producciones. La pel\u00edcula proyectada en el marco de <strong>\u201cM\u00e9xico, Pa\u00eds en Foco\u201d <\/strong>dedicado en esta jornada a la industria audiovisual mexicana, ha sido una oportunidad para que los espectadores vuelvan a acercarse a su cultura, y como ha asegurado Lozano \u201ca una parte de M\u00e9xico y de sus contradicciones\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Iberseries &amp; Platino Industria<\/strong> est\u00e1 impulsado por <strong>EGEDA y Fundaci\u00f3n Secuoya<\/strong>, en colaboraci\u00f3n con <strong>FIPCA<\/strong>, con el patrocinio de <strong>Madrid Film Office y Film Madrid Region, y el apoyo del Ministerio de Cultura, Cl\u00faster Audiovisual de Madrid, Spain Film Commission e ICEX Espa\u00f1a Exportaci\u00f3n e Inversiones<\/strong>, entre otras entidades.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Actress <strong>Toni Acosta<\/strong>, originally from Tenerife, described the role as \u201ca gift,\u201d not only because she is playing it in her homeland but also because it represents a change from her usual comedy roles. She added: \u201cI\u2019m from the Canary Islands, I\u2019m from there, I know about double lives; it was the perfect place.\u201d For <strong>Laura Abril<\/strong>, Executive Director of Fiction and Global Business Development at <strong>Buend\u00eda Estudios<\/strong>, \u201cthis is not just any thriller,\u201d and she explained that out of the need to go to the Canary Islands for financing reasons, \u201cwe found an advantage; we integrated it into the plot.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Montserrat Garc\u00eda<\/strong>, Director of Fiction at <strong>Atresmedia<\/strong>, Spain, stated that \u201cwe want to continue exploring the emotional thriller, following \u2018\u00c1ngela\u2019 and \u2018Mentiras\u2019; it is content that fits Atresplayer, these are ambitious stories, with strong artistic teams, and they are stories that travel very well. We also wanted to work with <strong>Buend\u00eda Estudios<\/strong> again.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The <strong>Iberscreenings Pr\u00f3ximamente<\/strong> section on this first day also presented \u201cC\u00f3mo ver una serie con los ojos cerrados\u201d, a proposal by <strong>Radio Ambulante Studios<\/strong> to adapt one of its narrative podcasts into a television series, using \u201cLas vidas de Maril\u00fa\u201d as a real-life case.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The story revolves around Maril\u00fa, who converts to Islam alone in her bedroom in Monterrey, Mexico, and marries a Moroccan man she met on Facebook. She travels to Madrid, they have two children and one morning, at dawn, agents arrive, she is handcuffed, and the children are told that their father is on a farm. Nine months later, she is arrested outside the school and accused of glorifying terrorism, with a life of profound religious devotion presented as evidence. She is convicted. The Supreme Court overturns the conviction, but the family remains shattered.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Silvia Vi\u00f1as<\/strong>, Director of New Production Development at <strong>Radio Ambulante Studios<\/strong>, USA, shared with attendees how the story first reached them through the news and how they began to uncover more and more elements, to the point that she herself met with Maril\u00fa, while taking care to uphold journalistic ethics at all times. <strong>Patricio Wills<\/strong>, CEO of <strong>W Studios<\/strong>, USA, noted that from the outset they saw a powerful story in the fact that someone in Mexico had converted to Islam, amid all the Guadalupan fervour of the country, and had come to Spain to marry a Muslim man, \u201ca very interesting cultural mix.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Juancho Cardona<\/strong>, Managing Director of <strong>11:11 Films &amp; TV<\/strong>, Mexico, said that \u201cthe important thing along this journey was to see that there is a desire to co-produce between Mexico and Spain, and that, although it comes to this country, it remains very powerful and interesting for Mexico; we are bringing in the best talent and <strong>Cecilia Su\u00e1rez<\/strong> will join, so it will be a project of relevance to both places, and we are now looking to partner with strategic partners here.\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>\u201cAmores Perros\u201d pertenece a la memoria de todas las personas que la hicieron posible: M\u00f3nica Lozano<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first day of this audiovisual event concluded with a gala screening in the <strong>Iberscreening Funci\u00f3n de Gala<\/strong> section of the film \u201cAmores Perros\u201d, directed by <strong>Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu<\/strong>, an award-winning film and one of the leading landmarks of contemporary Mexican cinema.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Introducing the film, <strong>M\u00f3nica Lozano<\/strong>, associate producer of the movie, expressed that it was a source of pride and a privilege to be able to screen the film 26 years after its release and, in doing so, \u201crecognise the work of all those who made it possible, who contributed their enthusiasm, rigour and professionalism: all those whose names are never known.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the Sala Azcona at Cineteca Matadero Madrid, she recalled that in addition to Gonz\u00e1lez I\u00f1\u00e1rritu\u2019s leadership and <strong>Guillermo Arriaga<\/strong>\u2019s screenplay, many people were involved in making the film and, as the film\u2019s fellow producer <strong>Tita Lombardo<\/strong> once wrote: \u201cthe film belongs to the memory not only of the director and the production team, but of those who lived it; each of their testimonies tells a different story, and all those stories make up the true story of Amores Perros.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lozano also pointed out that many of those people remain active and continue fighting to ensure that Mexican cinema remains vibrant and that its productions achieve national and international recognition. The film, screened as part of \u201cM\u00e9xico, Pa\u00eds en Foco\u201d, dedicated on this day to the Mexican audiovisual industry, offered viewers an opportunity to reconnect with its culture and, as Lozano stated, \u201cwith a part of Mexico and its contradictions.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Iberseries &amp; Platino Industria is promoted by EGEDA and Fundaci\u00f3n Secuoya, in collaboration with FIPCA, with the sponsorship of Madrid Film Office and Film Madrid Region, and the support of the Ministry of Culture, Cl\u00faster Audiovisual de Madrid, Spain Film Commission and ICEX Espa\u00f1a Exportaci\u00f3n e Inversiones, among other organisations.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Iberseries &amp; Platino Industria has kicked off the activities of its sixth edition by focusing on an increasingly interconnected audiovisual industry, in which local identity, new ways of reaching audiences, co-production and alliances between territories are becoming tools for boosting the international circulation of stories. 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