Following on a line of titles that venture into social drama, Globo’s new telenovela “Orphans of a Nation,” presented at Mip Cancun, has just won a Rose D’Or for Best Soap Opera.
That marks the first time that a Brazilian production wins in the category and validates once more – after prizes for “Jailers” and “Under Pressure” – the Brazilian TV giant’s bet on content that tackles head on current issues with clear, progressive, social commentary.
The show, fruit of the long collaboration between Thelma Guedes and Duca Rachid-who have already won an Intl. Emmy for “Precious Pearl,” centers around Laila (Julia Dalavia), a Syrian refugee trying to get to Brazil with her family, and Jamil (Renato Góes)the right hand man of a brutish, dastardly Sheik who fall in love as Laila is forced to marry the Sheik to save her little brother.
Kicking off in Syria,...
That marks the first time that a Brazilian production wins in the category and validates once more – after prizes for “Jailers” and “Under Pressure” – the Brazilian TV giant’s bet on content that tackles head on current issues with clear, progressive, social commentary.
The show, fruit of the long collaboration between Thelma Guedes and Duca Rachid-who have already won an Intl. Emmy for “Precious Pearl,” centers around Laila (Julia Dalavia), a Syrian refugee trying to get to Brazil with her family, and Jamil (Renato Góes)the right hand man of a brutish, dastardly Sheik who fall in love as Laila is forced to marry the Sheik to save her little brother.
Kicking off in Syria,...
- 12/2/2019
- by Emiliano Granada
- Variety Film + TV
Pamplona, Spain — Few events were more anticipated at Conecta Fiction than the joint keynote delivered by HBO Latin America’s Roberto Ríos and HBO España’s Miguel Salvat. The room was packed,some attendees caught it from a screen outside.
That’s a sign of the draw of HBO’s brand in Spanish-language programming and of Ríos and Salvat. When it comes to Spanish-language premium TV series both executives are pioneers and now institutions. Ríos’ credits at HBO date back at least to the 2008-released “Alice” and Season 2 of “Epitafios,” produced with Pol-ka, the first ever premium limited TV series in Spanish bowing way back in 2003.
Salvat was the driving force behind two of Spain’s very first scripted premium series: “Whatever Happened to Jorge Sanz?” and “Crematorium,” released at Canal Plus España over 2010-11.
One of the keys to understanding a Svod platform is its slate of projects in productions,...
That’s a sign of the draw of HBO’s brand in Spanish-language programming and of Ríos and Salvat. When it comes to Spanish-language premium TV series both executives are pioneers and now institutions. Ríos’ credits at HBO date back at least to the 2008-released “Alice” and Season 2 of “Epitafios,” produced with Pol-ka, the first ever premium limited TV series in Spanish bowing way back in 2003.
Salvat was the driving force behind two of Spain’s very first scripted premium series: “Whatever Happened to Jorge Sanz?” and “Crematorium,” released at Canal Plus España over 2010-11.
One of the keys to understanding a Svod platform is its slate of projects in productions,...
- 6/24/2019
- by John Hopewell
- Variety Film + TV
Coming-of-age drama screens at the market.
Blue Fox Entertainment has launched sales at Efm on the coming-of-age comedy Abe starring Noah Schnapp from the Netflix show Stranger Things.
Brazilian documentarian Fernando Grostein Andrade made his narrative debut on the film, which premiered at Sundance and centres on a 12-year old boy from Brooklyn who dreams of being a chef.
Instead of going to the traditional summer camp his parents signed him up for, he sneaks off to Manhattan to work with an innovative street chef with hopes of using his culinary skills to unite his multicultural family. Rounding out the cast are Seu Jorge,...
Blue Fox Entertainment has launched sales at Efm on the coming-of-age comedy Abe starring Noah Schnapp from the Netflix show Stranger Things.
Brazilian documentarian Fernando Grostein Andrade made his narrative debut on the film, which premiered at Sundance and centres on a 12-year old boy from Brooklyn who dreams of being a chef.
Instead of going to the traditional summer camp his parents signed him up for, he sneaks off to Manhattan to work with an innovative street chef with hopes of using his culinary skills to unite his multicultural family. Rounding out the cast are Seu Jorge,...
- 2/7/2019
- by Jeremy Kay
- ScreenDaily
Today in Variety’s International Newswire, it’s all about soccer, with Vivendi losing French Ligue 1 soccer rights, while Zidane’s resignation as Real Madrid manager may just make Spain’s Laliga rights all the more attractive; in the fast contracting non-soccer universe, as the World Cup approaches, Netflix turns the screws on rivals in Brazil with a top company commission; Mexico’s Dopamine signals new hires
Has Vivendi just scored a massive own goal? In what analyst François Godard, at Enders Analysis, describes as “the biggest shock to the French broadcasting system in a generation,” on May 29, Spain’s Mediapro outbid Vivendi subsidy Canal Plus, Europe’s second biggest pay TV player, to rights to France’s Ligue 1 soccer matches over 2020-24. On Wednesday, Vivendi stock plunged 3.64% by market close. It had clawed back 0.56% by mid-morning trading, but analysts’ sentiment looks to be that Canal Plus now has a problem.
Has Vivendi just scored a massive own goal? In what analyst François Godard, at Enders Analysis, describes as “the biggest shock to the French broadcasting system in a generation,” on May 29, Spain’s Mediapro outbid Vivendi subsidy Canal Plus, Europe’s second biggest pay TV player, to rights to France’s Ligue 1 soccer matches over 2020-24. On Wednesday, Vivendi stock plunged 3.64% by market close. It had clawed back 0.56% by mid-morning trading, but analysts’ sentiment looks to be that Canal Plus now has a problem.
- 5/31/2018
- by John Hopewell, Jamie Lang and Leo Barraclough
- Variety Film + TV
Fernanda Torres (Cannes best actress prize winner for “Love Me Forever or Never”) is attached to star in “The Hanged,” the second Brazilian feature of Fernando Coimbra, which is set up at Brazilian shingle Gullane.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
- 5/13/2018
- by John Hopewell
- Variety Film + TV
For years, Latin American TV dramas have centered on the same old stories of passion, betrayal and revenge. Rich old men woo humble young beauties, and prodigal sons return home to childhood sweethearts and troubled families in melodramatic sagas spanning as many as 200 episodes.
A change, however, is under way. Competition from online platforms and growing familiarity with award-winning series from abroad are prompting Latin America’s TV giants to up their game and make shorter, tighter, more sophisticated and increasingly topical dramas to complement their famously lucrative — and famously long — telenovelas.
“Players like Netflix and Amazon are starting to produce their own programs, and that has increased the demand for locally produced content here in Brazil,” says Andrucha Waddington, producer and director of “Under Pressure,” a hospital drama that won four Fipa d’Or awards in France in January. “Creatively it is very good news.”
Brazil, Latin America’s biggest country,...
A change, however, is under way. Competition from online platforms and growing familiarity with award-winning series from abroad are prompting Latin America’s TV giants to up their game and make shorter, tighter, more sophisticated and increasingly topical dramas to complement their famously lucrative — and famously long — telenovelas.
“Players like Netflix and Amazon are starting to produce their own programs, and that has increased the demand for locally produced content here in Brazil,” says Andrucha Waddington, producer and director of “Under Pressure,” a hospital drama that won four Fipa d’Or awards in France in January. “Creatively it is very good news.”
Brazil, Latin America’s biggest country,...
- 5/4/2018
- by Andrew Downie
- Variety Film + TV
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