Belgian drama De Twaalf (The Twelve) follows a trial from the perspective of its jury members, who must decide the fate of a woman accused of murdering her daughter and her best friend.
As the trial proceeds, the drama follows how the the weight of the case affects the jurors’ personal lives.
In this DQTV interview, producer Peter Bouckaert and director Wouter Bouvijn discuss the unique perspective of the 10-part Flemish series and how the jurors’ own baggage influences their thoughts on the case.
They also reveal how the actors were involved in shaping their characters, and discuss why Belgian series are currently shining in the international spotlight.
The Twelve is produced by Eyeworks for VRT and distributed by Federation Entertainment.
The great and good of the television industry are once again packing their bags for another week in the south of France. DQ previews some of the drama series set to break out at Mipcom 2017.
Mipcom is often viewed as an opportunity for US studios to showcase their scripted series to international buyers. But this year the US will be jostling for attention with dramas from the likes of Spain, Russia, Brazil, Japan, Scandinavia and the UK.
The Spanish contingent is especially strong thanks to a major investment in drama by Telefonica’s Movistar+. Titles on show will be Gigantes, distributed by APC; La Peste, distributed by Sky Vision; and La Zona and Velvet Collection, both from Beta Film. The latter is a spin-off from Antena 3’s popular Velvet, previously sold around the world by Beta.
Beta is also in Cannes with Morocco – Love in Times of War, as well as Farinia – Snow on the Atlantic, both produced by Bambu for Antena 3. The former is set in war-torn Spanish Morocco in the 1920s, where a group of nurses look after troops, while Farinia centres on a fisherman who becomes a wealthy smuggler by providing South American cartels a gateway to Europe.
Mipcom’s huge Russian contingent is linked, in part, to the fact 2018 is the 100th anniversary of the Russian Revolution. Titles that tackle this subject include Demon of Revolution, Road to Calvary and Trotsky – the latter two of which will be screened at the market. Trotsky, produced by Sreda Production for Channel One Russia, is an eight-part series that tells the story of the flamboyant and controversial Leon Trotsky, an architect of the Russian Revolution and Red Army who was assassinated in exile.
Other high-profile Russian projects include TV3’s Gogol, a series of film-length dramas that reimagine the famous mystery writer as an amateur detective. Already a Russian box-office hit, the films will be screened to TV buyers at Mipcom.
Japanese drama has found a new international outlet recently following Nippon TV’s format deal for Mother in Turkey (a successful adaptation that has resulted in more interest in Japanese content among international buyers). The company is now back with a drama format called My Son. NHK, meanwhile, is screening Kurara: The Dazzling Life of Hokusai’s Daughter, a 4K production about Japan’s most famous artist.
Brazil’s Globo, meanwhile, is moving beyond the telenovelas for which it is so famous. After international recognition for dramas like Above Justice and Jailers, it will be in Cannes with Under Pressure, a coproduction with Conspiração that recorded an average daily reach of 40.2 million viewers when it aired in Brazil.
From mainland Europe, there’s a range of high-profile titles at Mipcom including Bad Banks, distributed by Federation Entertainment, which looks at corruption within the global banking world. From the Nordic region there is StudioCanal’s The Lawyer, which includes Hans Rosenfeldt (The Bridge) as one of its creators, and season two of FremantleMedia International’s Modus. The latter is particularly interesting for starring Kim Cattrall, signalling a shift towards a more hybrid Anglo-Swedish project.
While non-English-language drama will have a high profile at the market, there are compelling projects from the UK, Canada and Australia. UK’s offerings include Sky Vision’s epic period piece Britannia and All3Media International’s book adaptation The Miniaturist – both with screenings. There’s also BBC Worldwide’s McMafia (pictured top), sold to Amazon on the eve of the market, and ITV Studios Global Entertainment’s The City & The City, produced by Mammoth Screen and written by Tony Grisoni.
From Canada, there is Kew Media-distributed Frankie Drake Mysteries, from the same stable as the Murdoch Mysteries, while Banijay Rights is offering season two of Australian hit Wolf Creek. There’s also a screening for Pulse, a medical drama from ABC Commercial and Screen Australia.
Of course, it would be wrong to neglect the US entirely,since leading studios will be in town with some strong content. A+E Networks, for example, will bring actor Catherine Zeta-Jones to promote Cocaine Godmother, a TV movie about 1970s Miami drug dealer Griselda Blanco, aka The Black Widow.
Sony Pictures Entertainment, meanwhile, is screening Counterpart, in which JK Simmons (Whiplash, La La Land) plays Howard Silk, a lowly employee in a Berlin-based UN spy agency. When Silk discovers that his organisation safeguards the secret of a crossing into a parallel dimension, he is thrust into a world of intrigue and danger where the only man he can trust is his near-identical counterpart from this parallel world.
If you’re in Cannes, don’t forget to pick up the fall 2017 issue of Drama Quarterly, which features Icelandic thriller Stella Blómkvist, McMafia, Benedict Cumberbatch’s The Child in Time, Australian period drama Picnic at Hanging Rock and much more.
Andy Fry casts his eye over this year’s selection for the MipTV Drama Screenings and finds an eclectic mix vying for the awards on offer.
In 2016, MipTV organiser Reed Midem decided to celebrate the global boom in scripted TV by launching its own drama awards. Dubbed the MipDrama Screenings, the first year was such a hit with buyers that the event has been brought back for 2017.
Just like last year, 12 finalists have been pre-selected for the awards in Cannes by an advisory board made up of experienced buyers. These shows will now compete for three awards – one decided by a jury of producers, another by critics and a third by buyers, who get to vote for their favourite show after screenings.
There are a couple of points about the MipDrama Screenings that make them particularly interesting. The first is that they focus on non-US titles, meaning that producers from less high-profile markets get a better chance to stand out from the crowd.
This year’s 12 comprise dramas from the UK (three), Germany (two), Russia (two), Canada, France, Denmark, Norway and Brazil. This echoes the story last year when Public Enemy, a drama from Belgium, was selected as the event’s top drama.
The second is that they are all new titles, which means many of them haven’t had much market exposure until now. A couple, like Babylon Berlin and Ride Upon the Storm, have been flagged up for a while – but this is not an awards programme for endlessly returning series like Game of Thrones or American Horror Story. In fact, around half the series being showcased are still in the middle of production.
So what can we learn from the 12 finalists? Well, in terms of subject matter, several deal with themes that have been pretty prominent in film and TV drama recently. Federation Entertainment’s Bad Banks, for example, is a new look at the world of big finance, while Sky Vision’s Bad Blood is a gangster series based on a true story.
All Media Company’s Russian drama Better Than Us (pictured top) is an exploration of AI’s role in our lives, while TV Globo’s Jailers is a new take on prison drama – this time from the point of view of guards, rather than inmates.
There are also a couple of cop shows, though perhaps not the kind we’re used to. The Territory, for example, is an eight-part drama from Sreda Production in Russia. The story is set in a town where a series of ritualistic murders take place. As a result, a pugnacious detective is called in to deal with the situation.
There is also Germany’s Babylon Berlin, a high-end drama series based on the thrillers by Volker Kutscher. Set in 1920s Berlin with Tom Tykwer as showrunner, this could be one of the landmark series of the year if it lives up to the hype.
The rest of the finalists tackle an eclectic and unusual range of subjects. For example, Missions, distributed by AB International, is a futuristic thriller focused on a Mars mission that goes wrong. While we’ve seen Mars as the focus of films and documentary series, this is the first recent TV drama to come to market (though others are in the pipeline).
Ride Upon the Storm is another leftfield drama. From Borgen creator Adam Price and produced by DR Drama in coproduction with Arte France and SAM le Francais, this is a story about faith, both in the traditional religious sense and in the wider context of what it is that guides us through our existence. It centres on an alcoholic, abusive priest and his two sons.
Faith may seem like a tough subject for a TV drama, but after Borgen (politics) and Follow the Money (finance), DR Drama is as likely as any to pull it off. Speaking about the series, Price says: “Despite the fact the Danes might not see themselves as a religious nation, we are surrounded by faith in our daily life. Faith fills the public debate – when atheists encourage people to leave the church, when we discuss integration, the refugee crisis, terrorism or the US presidential election. But also when we nurture mindfulness, ‘hipster Buddhism’ or the familiar blend of superstition and spirituality.”
Interestingly, the other Scandi finalist goes to the other end of the moral spectrum. Produced by HandsUp Stockholm for Viaplay Nordic, Veni Vidi Vici tells the story of a failing movie director who attempts to revive his career by working in the adult entertainment industry. However, this suspect career move forces him into a double life that threatens his family.
The show is part of Viaplay’s push into original drama. Explaining why his company backed the show, Viaplay CEO Jonas Karlén says: “We are convinced combining acquired TV dramas such as Empire and Blacklist with original Nordic drama is our future. Viaplay will take the lead on original productions in the Nordics, with 50 projects in the pipeline until 2020 with great stories that also have the potential to travel.”
A strong UK pool consists of ITV’s Fearless, Channel 4’s Gap Year and the BBC’s Clique – projects that all benefit from having strong writers at the tiller. Fearless, for example, is from Patrick Harbinson (Homeland). Starring Helen McCrory (Peaky Blinders), it tells the story of a solicitor who gets caught up in a political mystery while investigating the killing of a schoolgirl.
“Fearless is a legal thriller, but one that’s written in the crash zone where law and politics collide,” says Harbinson. “The so-called War on Terror has put serious stress on the workings of the law. National security justifies all sorts of police and state over-reach, and the majority of us accept this. So I wanted to create a character who challenges these assumptions.”
The other two UK entries are novel attempts to appeal to a younger audience – something TV drama desperately needs to do. Gap Year, written by Tom Basden (Fresh Meat) and distributed by Entertainment One, tells the story of a group of young travellers heading off on a three-month trip around Asia.
All3Media International’s Clique, created by Jess Brittain (Skins), is about two best friends drawn into an elite circle of alpha girls led by lecturer Jude McDermid in their first few weeks at university in Edinburgh. “It is about the different ways ambition plays out in young women at university,” says Brittain. “It’s a heightened version of a certain type of uni experience, pulled from my time at uni, then ramped up a few notches into a psychological thriller.”
In terms of the mechanics of the above shows, a few have been set up as coproductions, but for the most part they are centred around a strong central vision that originates in one territory. The impression is that the advisory board favoured shows that seek to tell local stories with universal themes. It’s also noticeable that most of them have a limited series feel to them. While this doesn’t preclude them from returning, it confirms the impression that the scripted sector outside the US is most comfortable in the six-to-10-episode range, working with season-long narratives rather than story-of-the-week projects.
Some of the talent involved is well established: Tykwer, Harbinson, Basden and Price, for example. But the overall list looks like a serious attempt to give buyers some interesting new angles,rather than simply showcasing big MipTV clients.
Public Enemy’s victory last year proves it’s hard to predict which show will come out on top. But the three-pronged winner selection process means the shows will be scrutinised pretty rigorously. Expert judges include Filmlance International MD Lars Blomgren (The Bridge), showrunner Simon Mirren (Versailles), screenwriter Virginie Brac (Cannabis, Spiral), Mediapro head of international content development Ran Tellem (Prisoners of War) and Big Light Productions founder Frank Spotnitz (The X-Files). That’s an impressive line-up of global drama talent with a good eye for spotting winning projects.
Finally, of course, it’s worth asking: is entering worth the effort? Well, the experience of Public Enemy would suggest so. Barely known before MipTV last year, the show was later sold by Banijay Rights to a wide range of broadcasters including TF1 and Sky Atlantic. So the message seems to be that creative recognition at the awards can have a financial pay-off.
A new crime drama set on the border of Finland and Russia has ambitions to show the lighter side of Nordic Noir.
If you think of a television show that comes with the Nordic Noir label, it’s likely that series originally hails from Denmark or Sweden. The Killing, The Bridge, Jordskott and Wallander have each helped to build the global interest in Scandinavian drama. But Norway and Iceland have now also joined in, with Occupied and Trapped respectively – and now Finland is getting into the game.
Bordertown, known locally as Sorjonen, is a crime drama set in the town of Lappeenranta, close to the Finnish border with Russia.
It centres on chief investigator Kari Sorjonen (played by Ville Virtanen) who moves with his wife and teenage daughter to the small town to enjoy a more peaceful life. Their new life is far from idyllic, however, as the new police chief has to use his detective skills to investigate several murder cases and track down the serial killer who is tormenting the community – and he soon discovers the crimes are not only connected to each other but to his family as well.
The 11-part series, due to air on Finnish broadcaster YLE in October, is produced by Fisher King Production and Federation Entertainment, with the latter distributing worldwide.
But while the standard-bearers of Nordic Noir mean the genre will always be associated with gritty landscapes and often brutal murders, Bordertown aims to bring out its lighter side, despite the serial killer plotline.
Fisher King producer Matti Halonen explains: “Very often Nordic Noir only tells the dark side of the story. We wanted to combine a warm family drama with a story that you want to follow through the season, combined with five different crimes that show the Nordic Noir elements.
“It’s important for us and YLE to have family at the centre of the story. Also, the fact the whole story is set on the border with Russia is not because we want to or do see them as a threat, which is normally used in a drama. In Bordertown, almost all the crimes come from the Finnish side.”
Halonen says Lappeenranta was a natural location for the story to be set, owing to the vast numbers of tourists and visitors that come from Russia across Finland’s eastern border.
“It felt for us that when we started to create the show, it was a natural place for it to be set,” he continues. “It’s the border of the Western world and Europe with Russia and the East – two different cultures, two different economies. It’s full of drama!”
Viewers always expect Russian characters to be the bad guys, notes Lionel Uzan, MD and co-founder of Federation. “But what we really loved when we read the scripts is everything has been turned around,” he says. “The bad guys are not who you think they are, the main character is not your typical crime noir character. So in the end you have a typical crime series from Scandinavia but with elements that are truly original.
“The risk when you have such a strong genre is to do the same thing over and over again. I’m sure some series are like that – just a redo from the previous killing. I don’t think that’s what Finland is bringing now.”
It’s those recognisable Nordic Noir clichés that Uzan says are potential pitfalls for any new series coming out of the region. How can they take the best from the genre and avoid treading on the toes of shows that have come before them?
“How do you reinvent or make it different? What Bordertown brings is family and crime, really mixed together. You haven’t seen that before, even in the great Scandi series.
“If you talk about the main characters of The Killing and other series like that, they’re very depressed, very dark. It always ends badly. Here, it’s not the same. The sergeant is totally original. He’s an offbeat character in the way he reacts with people and the way he acts with his family. He’s warm and very close to his family. It’s not a tough relationship that you’ve seen in lots of Scandi crime series.”
With five murders spanning the entire first season of the show, Uzan explains that the serialised story arc focusing on the family is complemented by the procedural, closed-ended police elements – a combination he says is attractive to both free TV and pay TV broadcasters that are interested in bringing Bordertown to audiences around the world.
“Even though it’s still violent, it’s got a wider approach,” he says. “It’s the family aspect that broadens its appeal. It’s almost as if different buyers can get different things out of the same show, which you don’t see very often. Very often you can say, ‘this is a pay TV show, this is a free TV show.’ Bordertown really works for both.”
The series was shot across 100 days, often employing two units at the same time to split the filming time in half depending on actors’ availability.
Discussing the look of the show, Halonen says writer/director Miikko Oikkonen wanted to create a TV series fit for the big screen. “We wanted it to have a cinematic look, which is much easier nowadays,” he explains. “We not only wanted a cinematic vision but exciting camera movements to support the drama. The cameras bring more to the drama, rather than take the audience away from it.”
Uzan adds: “You don’t often hear about composition of the image when you speak to series producers and creators. It’s usually narrative, narrative, narrative. But when you can also think about the composition, it’s the best of both worlds between movies and series. That’s something quite important, which helps you to be original and different. It’s production value that doesn’t cost a lot. When you think like a feature-film director, you can make something looks great without needing explosions and special effects. It’s about having a visual mind.”
With a second season already in development, viewers can look forward to revisiting Bordertown in 2017. Meanwhile, Fisher King and Federation will continue to work together to develop drama series for international audiences.
“The audience right now is so sophisticated, they can feel if a series is authentic or not,” Uzan adds. “You cannot make a Europudding – if you do that, you’re dead. What we find interesting is that, more and more, language barriers are slowly diminishing. Wherever the project comes from and whatever the language, you have interest.
“I come from features where if you’re not in English, you’re art house, no matter what you do. That’s it. That’s the rule. But what’s interesting now in series is these barriers don’t exist anymore. Thanks to the platforms and catch-up services, so many people now have so much access to content that the audience gets more sophisticated. It’s almost a way to discover a new culture. It’s a virtuous circle where the more content is accessible to more people, the more they become sophisticated and the more they demand original content. That’s very interesting.”
The international market for non-English language drama has taken off in the last couple of years. One of the key players in distributing such shows is France’s Federation Entertainment, which controls rights to an eclectic slate of titles from around the world including The Bureau (France), Hostages (Israel) and Bordertown (Finland).
Now it has acquired rights to a cybercrime drama from Belgian filmmaker John Engel.
Entitled Unit 42, the 10-part drama is currently in production at Engel’s Left Field Ventures and will air in its domestic market on public broadcaster RTBF. Federation will distribute in all markets except Benelux and France, which are handled by Ella Productions.
Unit 42 tells the story of a non-tech-savvy cop and a feisty young policewoman and IT expert who are forced to collaborate with one another. It is based on an original story by Annie Carels, who co-wrote the show alongside Julie Bertrand, Charlotte Joulia and Guy Goossens.
Belgian drama is yet to have the kind of impact enjoyed by Nordic, French, German, Spanish, Turkish or Israeli fare, but there are a few signs that it can hold its own internationally.
In 2014, for example, thriller series Salamander was picked up by a number of networks internationally as a completed show and a format. More recently, BBC4 in the UK acquired Cordon, in which a deadly virus results in the city of Antwerp being sealed off.
Another title to have attracted a lot of interest is Tim van Aelst’s comedy Safety First, which is distributed internationally by Red Arrow International.
And then there is Public Enemy, which won the Buyers’ Choice Award at MipTV’s first international drama competition earlier this year. All in all, then, it looks like Belgium is starting to make its mark on the international scripted scene.
Back on more familiar turf, Netflix has given a straight-to-series order for a reboot of 1960s sci-fi show Lost in Space. The 10-part series will be made by Legendary TV and is scheduled for 2018. It will be written by Matt Sazama and Burk Sharpless, with Zack Estrin (Prison Break) as showrunner.
Cindy Holland, VP of original content at Netflix, said: “The original series so deftly captured both drama and comedy, and that made it very appealing to a broad audience. The current creative team’s reimagining of the series for Netflix is sure to appeal to fans who fondly remember the original and create a new generation of enthusiasts around the world.” The last attempt to bring the franchise back was a mediocre movie with Matt LeBlanc in 1998.
Netflix rival Amazon, meanwhile, has acquired the UK rights to Roadies, Cameron Crowe’s new drama series. The first two episodes will be available to Amazon Prime members from today. New episodes will then be made available every Monday, the day after they air on Showtime in the US.
Commenting on the show, which was acquired from Warner Bros International Television Distribution, Brad Beale, VP of worldwide television acquisition for Amazon, said: “Cameron Crowe and (executive producer) Winnie Holzman are both amazing storytellers and having both of their voices behind Roadies makes it one of the most anticipated series of the year. Joining shows like The Man in the High Castle, Transparent, Mr Robot and Preacher, we’re sure that Prime customers are going to love it.”
Maybe they will – although the early ratings figures from Showtime aren’t especially encouraging. With an opening episode audience of just 360,000, a 6.9 rating on IMDb and a lacklustre response from reviewers, Roadies is at risk of going the same way as Vinyl, HBO’s recent foray into the world of music.
At the other end of the dramatic spectrum, BBC1 in the UK has commissioned a disturbing three-part miniseries from indie producer Studio Lambert entitled Three Girls. The series is based on the true stories of victims of sexual abuse in Rochdale, near Manchester. It will look at the way girls were groomed, how they were ignored by the authorities responsible for protecting them, and how they eventually made themselves heard.
Commenting on the commission, Susan Hogg, head of drama at Studio Lambert, said: “This true story, researched over a number of years, will shine a light on the trauma of sexual grooming, providing knowledge and understanding for parents and children alike. We are so grateful for the generosity of the young women and their families in sharing their experiences.”
Three Girls is written by Nicole Taylor (The C Word) and directed by Philippa Lowthorpe (Call the Midwife, Jamaica Inn).
Taylor said: “Whatever I thought I knew about what had happened in Rochdale, I knew nothing until I met the girls and their families. Listening to them was the beginning of understanding – not just of the terrible suffering they experienced but of the courage it took to persist in telling authorities who didn’t want to know, and to participate in the court proceedings that brought justice.”
The award for most interesting rumour of the week goes to author Michael Dobbs, who has suggested there might be scope for a House of Cards spin-off if the acclaimed Netflix show ends after season five.
In an interview with the Daily Express, he responded to the question of a possible spin-off: “That is a very interesting question and one that we are putting our minds to actively because every show comes to a natural end. Look what they’ve done with Breaking Bad, look what they’ve done with 24 (which have both seen spin-offs). So is there life in the long term? Well, it’s a hell of a brand. It’s been going now for 30 years: it was a success as a book, it was a success as a BBC TV series, it is a huge success as a US series. There are plenty of people from other parts of the world who want to make their version of House of Cards. We’ll see what happens with those. It is a global brand, so the question arises: what do we do with a global brand?”
The big industry story of the week has been producer/distributor Lionsgate’s decision to acquire premium cable outfit Starz for US$4.4bn. The move brings together one of the US’s most prolific and admired production houses with the broadcaster that commissioned or coproduced shows like Power, Outlander, Black Sails, The White Queen and Ash vs Evil Dead.
Lionsgate CEO Jon Feltheimer and vice-chairman Michael Burns said: “This transaction unites two companies with strong brands, complementary assets and leading positions within our industry. We expect the acquisition to be highly accretive, generate significant synergies and create a whole that is greater than the sum of its parts. (Starz CEO) Chris Albrecht and his team have built a world-class platform and programming leader, and we’re proud to marshal our resources in a deal that accelerates our growth and diversification, generates exciting new strategic content opportunities and creates significant value for our shareholders.”
Albrecht added: “Jon, Michael and the rest of the Lionsgate team have built the first major new Hollywood studio in decades, and we’re thrilled to join with them in a transaction that multiplies the strengths of our respective businesses. Our similar entrepreneurial cultures and shared vision of the future will make this alliance an incredible fit that creates tremendous value for our shareholders, great content for our audiences and limitless opportunities for our newly-combined company.”
The dust is yet to settle on the deal, so it is not clear how the Lionsgate/Starz marriage will impact on commissioning strategy. In theory, Lionsgate could launch new TV shows on Starz, making it easier to set up deals that will allow it to retain international rights on shows. But it won’t want to do anything that adversely impacts on its relationship with other key channel operators.
Equally, Starz won’t want to become too reliant on Lionsgate for original content, though it may be able to air more of Lionsgate’s back catalogue once existing rights contracts run down.
The one immediate issue that will need to be resolved is Lionsgate’s involvement in Epix, a premium movie channel it owns with Viacom and MGM. Epix has been the pay TV home for Lionsgate’s movies since 2009 but there will now be an obvious temptation to switch its films to Starz. Nothing will happen straight away but it’s a consideration for the medium term.
The good news for talent in the film and TV chain is that the group plans to invest US$1.8bn annually in new content.