Lost and found
Bertrand Cohen, CEO of Terence Films, reveals the adaptation process behind French psychological thriller Rivière-Perdue, a series about the search for a missing girl that is based on Spanish drama La Caza: Monteperdido.
In the mountains between France and Spain, a terrible car accident leads to the miraculous discovery of a teenage girl who had been missing for the past five years.
However, when Anna disappeared, her friend Lucie was with her. As the police reopen their investigation to find Lucie, Captain Alix Berg is determined to solve her first big case – but to do so she will need the support of her senior officer, Commissionner Éric Balthus, and must team up with a local policeman, Captain Victor Ferrerr.
This is French series Rivière-Perdue, a six-part drama produced by Terence Films – led by MD Stéphane Meunier and CEO Bertrand Cohen – and Gétéve Productions for TF1. Barbara Cabrita stars as Alix, with Nicolas Gob as Victor and Jean-Michel Tinivelli as Commissaire Balthus.
The show is adapted from a series that was originally produced in Spain by DLO Producciones for RTVE, under the title La Caza: Monteperdido, itself an adaptation of Agustín Martínez’s novel Moteperdido.
Agustín Martínez, Luis Moya, Antonio Mercero, Miguel Sáez Carral and Jorge Díaz wrote the Spanish series, with Eugénie Dard, Sylvain Caron and Elsa Vasseur steering the French translation. The latter is directed by Jean-Christophe Delpias. Banijay Rights is the distributor.
Here, Terence Films’ Cohen reveals how the original series was translated for a new audience.
What can you tell us about the story and how the reappearance of a teenage girl after five years is at the centre of this psychological thriller?
It’s the peak of summer in the heart of the majestic Pyrenees. A longboard goes down a winding road, causing a terrible accident, but in the passenger seat we find Anna Casteran, a 16-year-old teenage girl who disappeared five years ago. The police decide to reopen the investigation to search for Lucie Perez, who was taken at the same time as Anna. However, we quickly realise Anna is reluctant to help the police in the search for her friend. Her questionable behaviour fuels the intrigue and makes us wonder what she’s trying to hide.
How did the project come about and why were you interested in remaking La Caza: Monteperdido for French audiences?
I started hearing about the series and the novel through conversations with Banijay France’s scripted team, as this series was first created by Spanish label DLO Producciones. I decided to watch the first episode of the Spanish version and switched over to the novel, which got me thinking of a potential adaptation.
However, there was one key element I wanted to change. Instead of starting with the abduction of the two teenage girls, I wanted to focus on the mysterious reappearance of Anna. I kept the same elements that made the original series stand out, but this small adjustment made for a thrilling and unexpected debut. I think switching the order around helped push this project across the line in France.
What stood out to you about the original series?
The initial premise of La Caza: Monteperdido is extremely powerful and emotional: two teenage girls are abducted and only one reappears five years later. You can imagine the mixed emotions and feelings it brings for the families involved and the questions that follow as to why. We quickly want to unravel the secrets as we follow the story through the different perspectives of the police, the parents and other family members, until we come across shocking twists that leave us wanting for more.
What elements have remained the same in the French remake – and what changes have you made?
The most notable difference is how we decided to start Rivière-Perdue. We wanted to begin this thriller with Anna’s reappearance and show the touching and joyous reunion with her family, which quickly takes a dark turn, immersing us in a more sombre atmosphere. We’ve also changed the dynamics between men and women, as the novel was written a few years back and we wanted to make it more relevant to today. Most importantly, we’ve kept the spectacular twists and turns from La Caza: Monteperdido, leaving you on the edge of your seat.
How would you describe the writing process with Eugénie Dard, Sylvain Caron and Elsa Vasseur?
It’s been great working with such talented writers. They kept the main storyline but didn’t hesitate to rewrite and add certain elements for the local audience. The quality and level of detail were as elevated as the original series, weaving perfectly through the key themes of action, adventure, love and the complex relationships between characters. The great thing about adaptations is you get to be creative with your own preferred talent to suit local tastes and enhance the narrative even further.
Did you return to the Spanish novel on which the original series is based?
We watched the series created by DLO Producciones in collaboration with RTVE and read the novel by Agustín Martínez. They both had different elements that inspired us to write our own local version.
How did you work with the Spanish production team on the remake?
José-Manuel Lorenzo is a well-known producer in Spain, and we were able to directly liaise with him and the wider Banijay scripted team, as well as RTVE, on how we could bring La Caza: Monteperdido to France. We felt very supported in the process, making sure the version was as powerful as the original series while taking some liberties to make it relevant to our audience.
Why did you choose to shoot in the Pyrenees and what did the location bring to the series?
The natural setting is a key element in the series. We wanted the viewer to be immersed in the vast and light-filled surroundings of the Pyrenees, contrasting with the dark tone of the story. The most challenging part was having to move the set and the equipment to very remote locations that were only accessible through small narrow paths and dirt roads. It was a real logistical feat that didn’t come at a low cost, but seeing the quality of the rushes and footage made it all worthwhile. We also needed to be quite close to Spain, as there is a small part of the series that takes place there as a nod to the original series.
Did you face any challenges in development or production?
The biggest challenge was getting the funds, as some of our initial partners fell through, and we had to balance this with the talented cast and writers we had on board, as well as the dozen big action scenes we needed to film. The production was challenging, but we pushed through and we’re so proud of the whole team when seeing the successful ratings on TF1, with 6.2 million viewers tuning in for the launch. The average market share of all six episodes was 30%, which is a record audience for a miniseries on TF1 over the past three years.
With so many original series in production, why are remakes and adaptations still so popular? Might there be a rise in the number of local remakes in the future?
It’s difficult to say. An adaptation can be a confident investment for a broadcaster, as it comes with a proven track record of success. Having said that, it always depends on the projects and the broadcasters, as the private and public channels in France have a different approach when it comes to adapting series from other markets.
tagged in: Bertrand Cohen, La Caza: Monteperdido, Rivière-Perdue, Terence Films, TF1