{"id":38137,"date":"2026-10-01T10:46:07","date_gmt":"2026-10-01T08:46:07","guid":{"rendered":"https:\/\/iberseriesplatinoindustria.com\/?p=38137"},"modified":"2026-10-01T11:26:29","modified_gmt":"2026-10-01T09:26:29","slug":"the-second-day-of-iberseries-platino-industria-2026-explores-the-power-of-stories-and-the-new-languages-of-the-audiovisual-industry","status":"publish","type":"post","link":"https:\/\/iberseriesplatinoindustria.com\/en\/the-second-day-of-iberseries-platino-industria-2026-explores-the-power-of-stories-and-the-new-languages-of-the-audiovisual-industry\/","title":{"rendered":"The second day of Iberseries & Platino Industria 2026 explores the power of stories and the new languages of the audiovisual industry"},"content":{"rendered":"\n
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Series reaffirm their ability to generate empathy, open up debates and address major social issues, with stories that seek to connect with audiences and offer new perspectives on reality<\/strong><\/li>\n<\/ul>\n\n\n\n
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The rise of microdramas is paving the way for a language of their own and new production dynamics, while the industry explores how to respond to consumption habits shaped by fragmented attention<\/strong><\/li>\n<\/ul>\n\n\n\n
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FIPCA begins the celebrations of its 30th anniversary at Iberseries & Platino Industria, looking ahead to the future challenges facing the Ibero-American audiovisual industry and to promoting greater circulation of its works.<\/strong><\/li>\n<\/ul>\n\n\n\n
The second day of Iberseries & Platino Industria<\/strong> 2026 has focused on the ability of stories to connect with audiences and generate conversation, but also on an audiovisual industry seeking new ways to create, produce and reach the public. Series as a vehicle for addressing major social issues, the defense of a distinctive identity and the constant search for new ideas have run through many of the meetings held at Matadero Madrid.<\/p>\n\n\n\n
The transformation of the sector has also been at the heart of a day marked by adaptation to new consumption habits and business models, the development of intellectual property and the promotion of alliances and co-productions capable of extending the international reach of content. In this context, microdrama is emerging with a language and production dynamics of its own, while companies and production companies explore formulas to respond to an increasingly fragmented audience.<\/p>\n\n\n\n
Iberseries & Platino Industria<\/strong> has also served as a showcase for new fiction and non-fiction productions, from upcoming projects by RTVE<\/strong>, Secuoya Studios<\/strong> and Netflix<\/strong>, to new ways of bringing stories and characters to the screen. The day also hosted the start of the celebrations for FIPCA<\/strong>\u2019s 30th anniversary, with the federation using the occasion to look to the future and raise challenges such as the circulation of Ibero-American works, professional training and the strengthening of industry alliances.<\/p>\n\n\n\n
Series, a major showcase for addressing the issues that matter to the world<\/strong><\/strong><\/p>\n\n\n\n
Series have the ability to offer viewers a perspective that helps them face the problems affecting societies. Hope, a call to action and an invitation to confront important challenges are some of the immediate feelings left by many stories that reach the screen, audiovisual writers and screenwriters agreed at the sixth edition of Iberseries & Platino Industria<\/strong>.<\/p>\n\n\n\n
The panel entitled \u201cSeries to Change the World<\/strong>\u201d featured Louis Aubert<\/strong>, creator (France), one of the creators of the series \u201cPhoenix\u201d, which criticizes the inaction of major polluting companies in the face of climate change: \u201ca production that hooks people, and perhaps it is not going to change the world, but it can change people\u2019s mindset. It has a universal message and calls for action on an issue like this.\u201d<\/p>\n\n\n\n
In the panel moderated by Al Williams<\/strong>, audiovisual consultant at Alita de Pollo<\/strong> (Netherlands), Spanish director, screenwriter and actress Leticia Dolera<\/strong> highlighted the impact of her series \u201cPubertad\u201d, which encourages people to talk about an issue as close to home as sexuality with their children, and which is now being discussed in schools. From another perspective, Danish Jeppe Gjervig Gram<\/strong>, showrunner & screenwriter at Secret Chord ApS<\/strong>, recalled that his series \u201cBorgen\u201d helped open the way to addressing politics and the formation of party alliances in his country, also connecting these issues with family, economic and suspense-related dimensions.<\/p>\n\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>\n\n\n\n
For Belgian screenwriter Cristina Poppe<\/strong>, her series \u201cEl mejor inmigrante\u201d has brought to the screen a story that years ago would have been a dystopia: the far right decides to expel those not born in the country and a television competition offers a residence permit. \u201cI don\u2019t believe that series and films change the world, but they can generate empathy, tell stories about people who are having a hard time and open up debates.\u201d<\/p>\n\n\n\n
For his part, Norwegian Jan Trygve Royneland<\/strong>, in-house writer & development producer at Scanbox Production<\/strong>, noted that his soon-to-be-released series \u201cHenky\u201d is based on the story of one of the first HIV cases in his country, who was fired and, after filing a complaint, won a highly controversial court case, although the person involved died a few months later. \u201cWhat we want to convey is a positive feeling and an energy that says we have to fight against injustices like the one suffered by the character.\u201d<\/p>\n\n\n\n
Adaptability, one of Atresmedia\u2019s keys to growth in the audiovisual industry<\/strong><\/strong><\/p>\n\n\n\n
During this second day of the sixth edition of Iberseries & Platino Industria<\/strong>, Atresmedia<\/strong> Managing Director Jos\u00e9 Antonio Ant\u00f3n<\/strong> highlighted that adaptability has been one of the keys to growth in an industry undergoing as many changes as the audiovisual sector, where technology, production models and business models have been transformed over the last decade.<\/p>\n\n\n\n
Atresmedia<\/strong> has consolidated its position at the top by becoming the engine of its own disruption, transforming itself every day and completely redesigning the concept of the life cycle of its products and content. Its strategic flexibility has also driven it to maximize value through strategic and international alliances with giants such as VIX<\/strong>, Disney+<\/strong>, Netflix<\/strong>, ZDF<\/strong> and ITV<\/strong>, demonstrating that agreements with platforms do not weaken the brand, but exponentially increase the ambition and global impact of local drama.<\/p>\n\n\n\n<\/figure>\n\n\n\n
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In the Keynote, Jos\u00e9 Antonio Ant\u00f3n<\/strong> stated that constant transformation is the key to understanding the secret of Atresmedia<\/strong>\u2019s success and explained that the model of having its own channels alongside alliances with other platforms delivers very good results, including sustaining long-term viewing and, in some cases, the leadership of some of its productions, such as \u201cLa Casa de Papel\u201d and, more recently, \u201cVeneno\u201d.<\/p>\n<\/div>\n\n\n\n
In his conversation with journalist Alberto Rey<\/strong>, he acknowledged that this is an industry in which not every product succeeds, and that to some extent it is impossible to predict what will happen with certain productions despite the many aspects that different teams take care of in each project. He also highlighted the importance for a company such as Atresmedia<\/strong> of always having projects and licenses for creations (IP), which makes it possible to begin planning the content it wants to present to the public, understand how to generate value from it and continue producing content.<\/p>\n\n\n\n
This is the right time to consolidate a European identity through audiovisual co-productions<\/strong><\/p>\n\n\n\n
Europe has the capacity to consolidate \u201ca European identity\u201d through co-productions between different countries, offering attractive stories for audiences that showcase different geographies, cultural aspects and languages, while also appealing to other markets around the world, production company representatives said during the second day of the sixth edition of Iberseries & Platino Industria<\/strong>.<\/p>\n\n\n\n
At the conference \u201cBreaking Rules: The Co-Production Map<\/strong>\u201d, held in the Plat\u00f3 room at Cineteca Matadero Madrid, trailers for series and films jointly produced by companies from different countries were shown, highlighting how European audiences are interested in narrative content first from their own country, but also in broadening their view to what is happening in other countries.<\/p>\n\n\n\n
In this context, Alfredo Berm\u00fadez de Castro Berbel<\/strong>, Chief Operating Officer of Secuoya Studios<\/strong> (Spain), expressed his company\u2019s interest in participating in co-productions and in this ecosystem by making available the infrastructure and teams it has in both Spain and Latin America for ideas developed jointly with production companies from other countries and approached in different languages.<\/p>\n\n\n\n<\/figure>\n\n\n\n
During the panel, Peter Lohner<\/strong>, SVP Hispanic Acquisitions & Co-productions at Beta Film<\/strong> (Germany), presented projects in which he has participated, such as \u201cRaise oh the raven\u201d and \u201cLa vida Barcelona\u201d, and argued that \u201ca European identity\u201d is possible through stories that attract audiences in different countries, are produced by several players across the continent and use different languages, thereby \u201chaving a voice of our own in an increasingly competitive global market\u201d.<\/p>\n\n\n\n
Iris Bucher<\/strong>, CEO & Producer at Quad Drama<\/strong> (France), presented \u201cLa madre perfecta\u201d, a France-Germany co-production set in both countries and spoken in both languages. \u201cDubbing is not something we are considering; subtitles, perhaps. But languages have to be spoken as they are in real life; people are more accustomed to that and they ask for it.\u201d Another option is represented by the series \u201cThe Kollective\u201d, presented by Femke Wolting<\/strong>, co-founder of Submarine<\/strong> (Netherlands), which, while entirely in English, features actors and settings from several European countries and is intended to be watched by audiences in other markets around the world.<\/p>\n\n\n\n
For her part, Nathali Wolting<\/strong>, General Manager at Atlantique Productions<\/strong> (France), presented several of the company\u2019s projects and said that co-productions are a challenge but at the same time \u201ca wonderful human experience\u201d, in which there must be clear rules from the outset, collaborative work and alignment among all participating parties. Regarding the use of languages, she stressed that \u201cit has to be something organic\u201d, according to the needs of the story.<\/p>\n\n\n\n
FIPCA begins celebrations for its 30th anniversary at Iberseries & Platino Industria<\/strong><\/strong><\/p>\n\n\n\n
The Ibero-American Federation of Film and Audiovisual Producers (FIPCA<\/strong>) begins, at this gathering of the Ibero-American audiovisual industry, the celebrations marking 30 years of promoting and defending Ibero-American audiovisual production. This commemoration looks to the past to understand its evolution, but above all opens a reflection on the challenges of the present and the role it will need to assume in the future of the sector.<\/p>\n\n\n\n
The start of the celebration brought together former president Adri\u00e1n Solar<\/strong>, producer Gerardo Herrero<\/strong>, current treasurer Mela M\u00e1rquez<\/strong>, former vice-president M\u00f3nica Lozano<\/strong> and current president Ignacio Rey<\/strong> in a conversation led by the Federation\u2019s Executive Secretary, Antonio A. L\u00f3pez<\/strong>. Future objectives include relaunching the Ibermedia<\/strong> program and helping to make visible a portion of the region\u2019s film output that remains unseen even within its own countries. \u201cGenerally speaking, there is an economic gap in our films; when we sell them, it is easier to sell them in Europe than in our own region,\u201d Rey said.<\/p>\n\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>\n\n\n\n
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Another topic was training. \u201cWe have realized that there is no shortage of film schools in Latin America, but there is an important part of professional training\u2014both for those working in production and for technicians in general\u2014that requires work experience and theoretical training, because what one learns at film school is usually not enough to enter the job market.\u201d<\/p>\n<\/div>\n\n\n\n
He also spoke about strengthening alliances with organizations such as the Organization of Ibero-American States (OEI)<\/strong> and the Inter-American Development Bank (IDB)<\/strong>, building on everything achieved with the support of EGEDA<\/strong> and through relationships with the various film festivals in the Ibero-American region.<\/p>\n\n\n\n
Secuoya Studios brings action, romance and suspense with Can Yaman in \u201cEl laberinto de las mariposas\u201d<\/strong><\/strong><\/p>\n\n\n\n
The second day of the sixth edition of Iberseries & Platino Industria<\/strong> hosted, in Cineteca\u2019s Sala Borau, the Iberscreening of the first episode of \u201cEl laberinto de las mariposas\u201d, the new fiction series from Secuoya Studios<\/strong> starring Can Yaman<\/strong>. Andr\u00e9s Zamora<\/strong>, Global Distribution Director at Secuoya Studios<\/strong>, and Eduardo Galdo<\/strong>, executive producer, presented this eight-episode romantic thriller directed by Alberto Ruiz Rojo<\/strong>, whose cast also includes Mar\u00eda de Nati<\/strong>, Andrea Duro<\/strong>, F\u00e9lix G\u00f3mez<\/strong> and Michelle Calv\u00f3<\/strong>.<\/p>\n\n\n\n
The series follows a secret agent with an impeccable record who, overnight, becomes the most wanted man in Spain and must clear his name while trying to unmask those planning a multimillion-euro robbery of the State\u2019s coffers. \u201cWhen we met Can Yaman<\/strong>, we wanted to create something tailored to him,\u201d Galdo explained, highlighting how quickly the actor became known in Spain and the audience response after his first appearances in the country.<\/p>\n\n\n\n
Developed together with Mediaset<\/strong>, the production combines \u201caction, romance and suspense perfectly\u201d, according to Galdo. \u201cWe thought he only worked in romantic stories or similar genres, but here he gives a fantastic performance full of empathy,\u201d he said of Yaman. The actor plays \u201ca typical spy\u201d who ends up discovering \u201canother side of his heart\u201d, in a story that brings together \u201ca great love story and a great friendship story\u201d, as well as a mother\u2019s fight for her daughter.<\/p>\n\n\n\n
Conceived as \u201cpure entertainment\u201d and as \u201ca franchise with potential for future seasons\u201d, \u201cEl laberinto de las mariposas\u201d also has international ambitions. Zamora announced that the series \u201cwill premiere in the last quarter of the year here in Spain and Italy, and then it will reach many other territories, as we have already closed significant pre-sales, so we hope to have more news soon\u201d.<\/p>\n\n\n\n
Diversity and the search for new ideas, in the DNA of Ibero-American production companies<\/strong><\/p>\n\n\n\n
The diversity of proposals, adaptation to the new challenges of the audiovisual market and the constant search for new ideas are among the keys that Ibero-American production companies rely on to remain content creators for an increasingly demanding industry, representatives of some of the longest-established production companies attending this Ibero-American audiovisual gathering said.<\/p>\n\n\n\n
The \u201cSpotlight: IMAGINA: The DNA of Content Production<\/strong>\u201d also highlighted the promotion of talent for original creations (IP), work across several television genres and collaboration with platforms and other industry players as factors that have also contributed to the growth of the content offering over the years.<\/p>\n\n\n\n
Mar\u00eda Jos\u00e9 Rodr\u00edguez<\/strong>, Managing Director of Globomedia<\/strong> (Spain), highlighted the variety of productions considered historic, such as \u201cCaiga quien Caiga\u201d, \u201cLa Noche H\u201d, \u201cZapeando\u201d and \u201cEl Intermedio\u201d, as well as more recent fiction projects such as \u201cBarrio Esperanza\u201d for TVE<\/strong> and the current production of \u201cCuando solo quedemos nosotros\u201d for Prime Video<\/strong>. \u201cWe are proud of our past and of what we are building; we have a future that excites us greatly. We take nothing for granted, we look for the best talent, the best creators, and we look for new things,\u201d she emphasized.<\/p>\n\n\n\n
At the event in the Matadero Madrid Auditorium, Alejandro Flores<\/strong>, director of 100 Balas<\/strong> (Spain), highlighted recent works such as \u201cCeleste\u201d, \u201cYakarta\u201d and \u201cSu Majestad\u201d. \u201cThe value of these stories lies in their highly original creators, who leave a mark on the Spanish and international markets; we do not make series thinking about whether they will travel, and we should not be afraid of being local. \u2018Yakarta\u2019 and \u2018Celeste\u2019 deal with Spanish themes, but with universal concepts that give them a voice of their own,\u201d even in other markets.<\/p>\n\n\n\n<\/figure>\n\n\n\n
Carmen Gonz\u00e1lez<\/strong>, Managing Director of Big Bang Media<\/strong> (Spain), presented the recent evolution of the program \u201cMalas Lenguas\u201d for Televisi\u00f3n Espa\u00f1ola<\/strong>, while the company has also worked on fiction such as \u201cSer no ser\u201d for RTVE Player<\/strong>, and \u201cPerdida\u201d, available on Atresmedia<\/strong>, while developing adaptations of novels that will allow the production company to continue growing.<\/p>\n\n\n\n
For Uruguayan production company Cimarr\u00f3n<\/strong>, its CEO Santiago L\u00f3pez<\/strong> took the opportunity to announce that the company is moving from producing projects for other partners to creating its own content with a Latin American focus. Specifically, three productions are being developed for next year, in an approach that includes supporting authors from the beginning to the end of the project, allowing each story to find its own way of being made and seeking out the people needed \u201cwithout being afraid to talk about things and enjoy the ideas\u201d.<\/p>\n\n\n\n
Meanwhile, Agust\u00ed Esteve<\/strong>, Managing Director of El Terrat<\/strong>, said that the company\u2019s projects are characterized by the promotion of talent, honesty, risk-taking, playfulness, hard work and, in some cases, irreverence. From its catalog, he mentioned the current festival success of the film \u201c5 Minutos M\u00e1s\u201d and the documentaries \u201cTemps mort\u201d (the story of basketball player Charles Thomas<\/strong>) and \u201cSer yo\u201d, which follows actor Sergio Peris Mencheta<\/strong> through his cancer treatment while he was directing an artistic project remotely.<\/p>\n\n\n\n
RTVE backs mainstream fiction with \u201cRojo sobre blanco\u201d and \u201cRoc\u00edo\u201d<\/strong><\/p>\n\n\n\n
The Radio y Televisi\u00f3n Espa\u00f1ola<\/strong> corporation presented at Iberseries & Platino Industria<\/strong> a preview of two of its upcoming prime-time fiction projects: \u201cRojo sobre blanco\u201d, a procedural police thriller created by Daniel \u00c9cija<\/strong> and starring Hugo Silva<\/strong> and Mar\u00eda Herv\u00e1s<\/strong>, which combines intrigue and comedy around the work of a police station and the collaboration of a forensic linguist; and \u201cRoc\u00edo\u201d, a four-part miniseries created by Aurora Guerra<\/strong> that traces the personal and professional journey of Roc\u00edo Jurado<\/strong>, played at different stages by Susana C\u00f3rdoba<\/strong> and Carmen Raig\u00f3n<\/strong>, from her most emblematic moments as an artist to her personal and family life.<\/p>\n\n\n\n
Speaking about \u201cRojo sobre blanco\u201d<\/strong>, Daniel \u00c9cija<\/strong> said with satisfaction that it is a series \u201cwith an identity of its own, with truth, a sense of humor, great talent and extraordinary quality in the scripts\u201d, adding that \u201ctoday it is very necessary to have an identity when there are close to a thousand productions a year; we have to make series capable of having several seasons after all the investment that goes into achieving the first one\u201d. He also noted that \u201cperhaps we have a series that could mark an era in the television industry\u201d.<\/p>\n\n\n\n
Actor Hugo Silva<\/strong> reviewed how the industry has changed since the time when it was considered better to be a film actor than a television series actor. \u201cFor a decade now everything has merged; we all want to do everything because the quality is extremely high. It is just as enjoyable to take part in a film as in television, and the production teams are also the same,\u201d he said.<\/p>\n\n\n\n
Actresses Mar\u00eda Herv\u00e1s<\/strong> and Irene Arcos<\/strong> took part in the presentation. Herv\u00e1s said that \u201cthe series has a lot of soul, it is very character-driven; you fall in love with their reactions and, if I were a viewer, I would want to go out for beers with them, I would want them to be my friends\u201d, while Irene Arcos<\/strong> highlighted that Daniel \u00c9cija<\/strong> guided them on the characters\u2019 arcs, \u201cbut when we met on set, the chemistry emerged\u201d.<\/p>\n\n\n\n
For Jos\u00e9 Pastor<\/strong>, Director of Film and Fiction at RTVE<\/strong>, \u201cit is a series that recaptures the spirit of being at home, having a television without so many channel options, all gathering together to watch something; it is a tremendously entertaining series in which viewers will be very attentive to the interaction between the characters, and it is intended to be renewed and to keep adding characters\u201d.<\/p>\n\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>\n\n\n\n
As for \u201cRoc\u00edo\u201d<\/strong>, it is a unique production consisting of four episodes of around 70 minutes each, which came to Boomerang TV<\/strong>, Spain, at RTVE<\/strong>\u2019s request. \u201cWhen Jos\u00e9 Pastor<\/strong> called us about this project, we realized it was an enormous undertaking, because the figure of Roc\u00edo Jurado<\/strong> is incredible and impossible to encompass, but we have also filmed in the house where she was born, where she lived, and there has been something mystical about all of it,\u201d he said, adding that \u201cwe understood it was a project for free-to-air television, but we are sure it will travel very well\u201d.<\/p>\n\n\n\n
Humberto Mir\u00f3<\/strong>, from Boomerang TV<\/strong> and director of the series, said that it is an \u201cextremely respectful approach to the figure, steering clear of sensationalism, with the aim of also bringing Roc\u00edo to new generations without disappointing her lifelong admirers\u201d. Actresses Susana C\u00f3rdoba<\/strong> and Carmen Raigon, who portray different moments in the life of Roc\u00edo Mohedano Jurado<\/strong>, as she was originally named, highlighted the humanity of the Spanish actress and singer, while Jos\u00e9 Pastor<\/strong> stressed that \u201cwe want to make the series of the year, something that is not niche, that is for everyone\u201d. The series \u201cRoc\u00edo\u201d also features the participation of Movistar Plus+<\/strong>.<\/p>\n\n\n\n
\u201cMala llena eres de gracia\u201d, an innovative way to tell the life story of Mala Rodr\u00edguez<\/strong><\/p>\n\n\n\n
Iberseries & Platino Industria<\/strong> screened the first images from the documentary \u201cMala llena eres de gracias\u201d, which tells the life story of artist Mala Rodr\u00edguez<\/strong> in a disruptive way: a journey back to her childhood and youth, also seen through the stories of four other young women, all named Mar\u00eda, whose experiences intertwine with her own life and songs.<\/p>\n\n\n\n
The Iberscreenings section hosted on Wednesday the session \u201cMala Rodr\u00edguez, in the First Person: Presentation of the documentary \u2018Mala llena eres de gracia\u2019<\/strong>\u201d, in which the singer, together with documentary director Jean Cosme Delaloye<\/strong>, executive producer at JCDe Productions<\/strong> (United States), and Fernando Jerez<\/strong>, Head of Non-Fiction at Mediacrest<\/strong> (Spain), discussed the making of this work, which has yet to premiere.<\/p>\n\n\n\n<\/figure>\n\n\n\n
The Spanish artist expressed her satisfaction with this work, which began several years ago with her book \u201cC\u00f3mo ser Mala\u201d and later, together with Delaloye, with the search for a different way to narrate her past and build a documentary that brings her songs together with the stories of other women, creating echoes and their own ripples, so it is not a conventional documentary that tells her life in a linear way.<\/p>\n\n\n\n
\u201cIt is a journey back into Mar\u00eda\u2019s life through the other four lives, which tell difficult stories in Mexico, Colombia, the United States and Spain. Together, it is a story of survival that multiplies,\u201d Delaloye explained in the panel moderated by Mondo Sonoro<\/strong> journalist \u00c1lex Jer\u00e9z<\/strong>.<\/p>\n\n\n\n
For Fernando J\u00e9rez<\/strong>, \u201cit is a different story about a unique artist like Mala, and the production company Mediacrest<\/strong> was interested in a different, unconventional way of approaching the protagonist\u2019s life. The result is a multicultural work that also addresses violence, immigration and mental health, which are universal issues\u201d.<\/p>\n\n\n\n
\u2018Criminopat\u00eda\u2019, from podcast to Netflix: the challenge of putting images to a voice<\/strong><\/strong><\/p>\n\n\n\n
The move of \u201cCriminopat\u00eda\u201d, one of the most-listened-to true crime podcasts in Spanish, to Netflix<\/strong> was the focus of one of the meetings at Iberseries & Platino Industria<\/strong> in Sala Azcona at Cineteca Madrid. Clara Tiscar<\/strong>, Director & Host of the Original Podcast; Luis Calvo<\/strong>, Head of Content at GERSH<\/strong>; and \u00c1lvaro D\u00edaz<\/strong>, Director of Non-Fiction Content for Spain and Portugal at Netflix<\/strong> in Spain, analyzed how to translate a phenomenon conceived to be heard into audiovisual language.<\/p>\n\n\n\n
For Tiscar, there was one element that necessarily had to survive the change of format. \u201cThe essence is the voice; it is the only thing there is in the podcast. It is my voice, me telling a story. So what remains is the narrative voice, which I will narrate, and everything else is new,\u201d she explained during the presentation.<\/p>\n\n\n\n
That \u201ceverything else\u201d means taking the investigation into the field and making visible what listeners previously had to imagine. \u201cWe have gone to the places where the crimes occurred, we have spoken with investigators, with families, we have seen the streets of the towns. So, let\u2019s say that the images are new and the voice is what remains,\u201d she said.<\/p>\n\n\n\n
For Calvo, that is precisely where the main challenge of the adaptation lies: \u201ccompleting that with images, with much more, opens up a range of possibilities for us, another level of storytelling and communication, but it is also a challenge: adapting this while maintaining the essence, maintaining her voice, maintaining all the truth behind it\u201d. He added that images bring new possibilities through \u201cdocumentation, archives, landscapes, surroundings, family\u201d, materials that the podcast cannot show.<\/p>\n\n\n\n<\/figure>\n\n\n\n
Netflix<\/strong> also presented the adaptation at Iberseries & Platino Industria<\/strong> as a way to bring an already established community onto the platform. \u201cI think there is no doubt that we had to adapt Criminopat\u00eda,\u201d D\u00edaz said, because \u201cour goal is not for you to like everything on Netflix<\/strong>, but for everything you like to have to be on Netflix<\/strong>, and Clara and Criminopat\u00eda\u2019s fan community is so huge that we wanted them to be with us\u201d.<\/p>\n\n\n\n
The series, currently in production, is directed by Joanna Pardos<\/strong> and created by Pardos, Luis Calvo<\/strong> and Javier Mart\u00ednez<\/strong>, with production by You First Originals<\/strong>. The project thus expands the narrative universe of \u201cCriminopat\u00eda\u201d without giving up the element that has defined the podcast from the beginning: Clara Tiscar<\/strong>\u2019s voice as the thread connecting the stories.<\/p>\n\n\n\n
Microdrama seeks its place in the industry: new languages, genres and production models<\/strong><\/strong><\/p>\n\n\n\n
The rise of microdrama and vertical content opened a debate at Iberseries & Platino Industria<\/strong> on how these formats are transforming language, production models and the relationship with audiences. The session \u201cMicrodramas: What the New Format Brings into Play<\/strong>\u201d brought together Clo Fern\u00e1ndez<\/strong>, Manager Future Development, Telemundo Studios<\/strong>, Mexico; Lorena Quevedo<\/strong>, Founding Partner & Executive Producer, Twins Latin Films<\/strong> | R\u00edo Ancho Films<\/strong>, Argentina; and Javier Williams<\/strong>, SVP Spanish Language Content, 3Pas Studios<\/strong>, USA \/ CEO, Visceral<\/strong>, Mexico.<\/p>\n\n\n\n
Quevedo highlighted at Iberseries & Platino Industria<\/strong> the learning experience involved in producing her first microdrama for ReelShort<\/strong> in Argentina. \u201cFor us, the treatment, even though it was a challenge because it is very different from cinema, was like a learning curve for the whole team.\u201d The change, she explained, goes far beyond turning the screen: \u201cit is not only a change of format or moving from thinking horizontally to vertically, but also in terms of language, because it is a completely different language\u201d. In that process, she also defended adaptation rather than simply reproducing formulas, noting that \u201cwhat we did was not copy; it was adapt and propose how to make that content connect with this audience\u201d.<\/p>\n\n\n\n
Javier Williams<\/strong> focused on a change in consumption habits that is taking microdrama beyond the genres with which it was initially identified. \u201cWhat we are seeing is a paradigm shift in how people are consuming, this fragmentation of attention,\u201d he said. Although he acknowledged the current predominance of melodrama, he pointed to the arrival of genres such as musicals and horror. The industrial challenge also involves finding a different production balance because \u201cwithin production there are three factors: time, cost and quality\u201d and \u201csince we never like to make something of low quality, we have to find a way to balance time and cost to achieve the best possible quality with a new production dynamic\u201d.<\/p>\n\n\n\n
From Telemundo Studios<\/strong>, Clo Fern\u00e1ndez<\/strong> suggested at
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