CEE drama set for breakthrough as industry evolves

Local scripted series from Central and Eastern European countries could follow in the tracks of shows from Israel, South Korea and Turkey as viewing habits evolve rapidly, according to execs at the region’s TV industry conference.

“The world is getting flatter and we’re all growing towards each other, so there’s no doubt that the moment is coming for this region,” said Marc B Lorber, speaking at NEM Zagreb on Wednesday. 

“Don’t be surprised if in a few years viewers in South Korea or the US are watching your show, that’s the way it’s going,” added Lorber, who is executive producer at The Art of Coproduction

While larger CEE countries such as Poland have enjoyed burgeoning success with dramas, notably via global streamers such as Netflix which has a hub in Warsaw, smaller territories continue to face budgetary pressures and language obstacles. 

But Marina Williams, co-founding partner at Fremantle-owned Asacha Media Group, said opinion is shifting and pointed to the breakthrough of Korean and Turkish shows as examples. 

She is also behind Cicatriz, an adaptation of the novel by Juan Gómez-Jurado, which was produced by Plano a Plano and Dopamine, with La Casa de Papel scribes Pablo Roa and Fernando Sancristóbal attached. 

Prime Video and RTVE took rights in Spain to the show, which marked the first Spanish-Serbian co-production.  

“Nobody knew Israeli shows or South Korean dramas until recently,” Williams added.

Meanwhile Banijay’s content partnerships chief Steve Matthews said smaller countries have proven to be naturally more adept at combining firepower to get shows made. 

“As this contraction or whatever it is we’re going through happens, it seems the smaller countries - the likes of Belgium, the Netherlands for example - have that residual memory around doing co-productions and they’re much faster at it too.  

“They work out where they can do it and how, it has been the bigger countries – I’ll name no names - that are less good at those natural co-productions.” 

Matthews, who works across Banijay’s scripted output, said he is seeing demand from buyers for “local, chewy, human” series that retain domestic appeal. “And never label your show niche or arthouse,” he added. 

Matthews and Williams both pointed to procedurals as being set for a breakout, but the Banijay exec urged assembled creatives to take a broad view of the current landscape. 

“Yes, listen to the market but things happen so fast. My advice would be find out what nobody wants right now and develop something around that – so you have something when they come calling.” 

Williams added that tech, including ecommerce, could open up opportunities for additional funding for shows, with viewers able to buy products they see being used by stars on screen. 

“I’m waiting for this, where you can see an actress or actor wearing or using something and you can just click and buy it. That could be very interesting, because that would be a direct-to-consumer relationship in a very new and different way.”