The event is experiencing an exceptional moment in 2026, during its 14th edition, with remarkable growth in both exhibition space and total number of participants.

By Luis Cabrera, from Dubrovnik, Croatia

The champagne-fueled celebration of the opening of a new space, the Adriatic Area, symbolizes the current reality of NEM Dubrovnik. In its 14th edition, NEM is experiencing a very different moment than other industry events: in 2026, it has added more spaces and, most importantly, significantly increased its number of participants, who arrived at the beautiful Croatian city with a very positive energy, eager to do business in a fantastic setting.

The first day of the event, which runs until Thursday the 11th at the Dubrovnik Palace Hotel, had an excellent pace. The working tables -distributed across multiple areas but conveniently connected- hosted a good number of meetings, satisfying both loyal attendees and those attending for the first time.

Indeed, the 2026 edition of NEM Dubrovnik was characterized by several new faces, as many companies were surprised by the cancellations of Content Warsaw and, in particular, NATPE Budapest, leading them to rethink their schedules and opt for a visit to the Dalmatian coast.

Companies like Dori Media Group and TV Tokyo are participating in NEM for the first time, while others like TVP (Polish Public Television) have expanded their presence, moving from being buyers to also selling content.

One of the most praised aspects of NEM Dubrovnik is the organization’s work in creating a compact event with engaging panels and numerous networking opportunities, including cocktails each day and lunches at the hotel restaurant. and closing parties during the first three nights. For example, this Monday the event closed with an opening party, held at Port 22 in Dubrovnik’s Old Town, sponsored by Broadpeak, Globo, Fremantle International, and ITV Studios.

NEM is also a space for presentations and panels. This Monday, Global Agency showcased part of One Night Only, a new series adapted from the phenomenon that sparked the Turkish drama boom: 1001 Nights; while Globo presented a showcase of its vast library under the title “Building Audiences Through Content Strategy: Telenovelas, Series & Formats.”

Globo also sponsored the panel “What Makes a Long-Term Buyer-Seller Relationship Work?”, which featured Igor Draguzet, CCO of Central Europe Media Enterprises (CME); Rahela Štefanović, editor-in-chief at HTV, Croatian Radiotelevision (HRT); Rodrigo Nascimento, Head of Globo’s International Business Hub for EMEA; Jan Maxa, Director of Content and Production at FTV Prima; and Slawomir Cyra, Programming Director at Cyfrowy Polsat S.A; moderated by Kasia Madera, BBC News presenter.

The panel schedule will continue on Tuesday and will include, among others, a keynote address by Sam Barnett, CEO of CME, one of the most important players in the region.

Mixing the Old with the New

In terms of content, CEE occupies an interesting position for many European companies: it is a small territory, but with a strong following in several specific genres, including Turkish drama. Therefore, it is not surprising that the Turkish pavilion, organized by the Istanbul Chamber of Commerce, was one of the most active spaces on this first day, with companies like Mediahub, Calinos Entertainment, and OGM Universe working at a rapid pace.

Even outside the pavilion, the Turkish delegation is a major player, with Kanal D International (KDI), Inter Medya, Madd Entertainment, Mistco, and ATV Distribution spread across different areas of the event.

For example, Mediahub is presenting multiple new titles at NEM, including Roses, and new Greek series; KDI, meanwhile, celebrates the success of Sins & Roses, which will be adapted in Greece, and Torn Apart, whose second episode garnered excellent audience figures in Turkey, nearly doubling the ratings of its premiere.

Turkish content continues to expand significantly throughout the region, opening the door to new possibilities, such as micro-dramas, the current trend in the industry and also a major player in Dubrovnik. Inter Medya arrived at NEM with its first production, Boardroom to Bedroom, as well as with the vertical content from its Gain platform.

Similarly, Narativ, a Dubai-based company with offices worldwide, boasts one of the most comprehensive catalogs of vertical content. And, more importantly, it possesses the know-how of its ecosystem, thanks to its agreement with the Chinese group COL Group.

Of course, there’s also room for other top-tier content, such as Viaplay’s Nordic productions, ranging from acclaimed crime thrillers to sports documentaries, and including dramas based on true stories, like Golden Boys.

NEM Dubrovnik welcomes everyone, and its potential is enormous. The second day continues this Tuesday with more panels, screenings, and other activities that reflect the vibrant atmosphere of the event.

La entrada NEM Dubrovnik Shows Its Full Splendor se publicó primero en TTV News.

Kanal D International’s premium drama, already reaching audiences in over 120 countries, will be adapted for the Greek market, a deal that highlights its universal appeal and the Turkish distributor’s growing success of its format sales business.

A very compelling love story, led by a powerful father (Murat Yıldırım) betrayed by the woman he loved and a brave, passionate florist (Cemre Baysel), has been one of the biggest hits of the season in Turkey. With an intimate approach that places relationships at the centre of the narrative, Sins & Roses has also become an international success.

“We are very proud to share that Sins & Roses has now reached audiences in around 120 countries,” shared Elif Tatoğlu, Sales and Distribution Strategy Director at Kanal D International. “This success once again proves that powerful storytelling and compelling characters can truly travel across borders and cultures.”

The drama has already travelled to many countries, including Romania, Croatia, Bosnia & Herzegovina, and Montenegro; now Kanal D International announced another big milestone: the title will be adapted for the Greek market.

Sins & Roses keeps adding viewers on a week-to-week basis even after 30 episodes. What has kept the series so fresh?
Sins & Roses has a very rare quality: it keeps evolving. Even after 30 episodes, the story doesn’t rely on repetition. The characters constantly face new dilemmas, and the narrative always finds a way to surprise the audience without losing its emotional core.

What makes it fresh is also the balance between intense drama and strong character dynamics. Viewers are not only following “what happens next,” but they are deeply invested in the choices the characters make. And of course, the cast performances and production quality continue to elevate the series week after week.

What are the latest international news for the title?
One of the latest milestones for the series is its adaptation for the Greek market, bringing Sins & Roses to Greek audiences through a local remake. This further highlights the universal appeal of the story and the growing international demand for high-quality Turkish drama formats.

The series continues to attract attention from new territories, and we are seeing sustained demand thanks to its consistent performance and growing international fanbase. We believe Sins & Roses will remain one of our strongest titles globally, and we are excited to expand its reach even further in the coming period.

KDI’s format sales have been growing steadily. How big do you think this area of business will become during the upcoming years?
Format sales are becoming one of the most exciting parts of the business. Broadcasters are increasingly looking for stories that are already proven but can be adapted locally to fit their own audiences. With our extensive library and our experience in delivering long-running, emotionally engaging dramas, we are very well positioned in this space. I believe this area will continue to grow steadily over the next few years. Demand is especially strong in territories that want high-quality scripted content but prefer local production for cultural connection and cost efficiency.

We are currently working on new format opportunities and have ongoing discussions in multiple regions. Our goal is to build long-term format partnerships rather than one-off deals, and we are seeing strong momentum.

Read the complete interview in our NEM Dubrovnik 2026 edition

La entrada KDI’s Sins & Roses Secures a Greek Adaptation se publicó primero en TTV News.

The co-owner and producer at Glassriver shares his experience working on successful international co-productions, alongside his strong belief that Iceland is uniquely positioned to play a huge role as a European partner for all kinds of projects.

 A small country, yes, but more than capable of leaving a big footprint in the audiovisual industry, Iceland “has a lot to give”, as Andri Ómarsson, co-owner and producer at Glassriver, likes to point out.

Many of Iceland’s stronger elements are well-known in the industry, with titles like Game of Thrones, True Detective or Interstellar making use of some of its premier locations, but Ómarsson is certain that there is more to potential to explore.

“In Iceland we have the studio facilities, the equipment, and an exceptionally good crew, that are not being capitalized on currently”, explains the executive. “We have always been a frontrunner as a location and an international parent, and we still have a lot to give”.

How does a title like Cold Haven, a co-production between Glassriver and SPi (Portugal), showcases the beauty and possibilities that Iceland offers as a location?

The landscape, the environment and the nature overall, are a constant thing for us here in Iceland. We have eruptions, earthquakes, crazy winters and crazy summers. That’s a constant factor in our life and we try to integrate this into our stories: it plays a role in most of the work we do.

Cold Haven is a great example of that. We have a woman and her daughter fleeing an abusive relationship. They go to this place [Editor’s note: archipelago of Vestmannaeyjar] that in the beginning looks extraordinarily beautiful, picturesque. This is my birth town, so I hold it dear; it’s one of the most beautiful places in the world.

Online there’s this popular meme, the loneliest place on earth, about one small house on a beautiful island that’s part of that cluster. But when you zoom out a bit, you see how lonely you are because this is a small island cluster, middle of the Atlantic, brutal weather. And you can see throughout the series how vulnerable you are, how remote and isolated you are. So I think that’s a perfect example how we take advantage of the nature that we live in and let it contribute to the story that we are portraying.

How was the development of this international co-production?

Cold Haven was a great example of just how a healthy collaboration can generate a strong international series that is traveling. The story originated in Portugal. SPi brought the idea over to us. They had made the perfect setup where two countries needed to collaborate to create a story like this.

SPi needed a perfect escape country that looked warming in the beginning, but morphed into something harsh and brutal. And there are some industry links between the two countries, such as the fish industry since Portugal imports a lot of fish from Iceland. So that was an organic connection.

How would you describe all the variety and richness that Iceland offers as an audiovisual location?

Iceland in many ways can be a perfect partner in so many stories. Even though our island is relatively small and we are few, the island is still big enough to have various resources, different landscapes and elements. We have “some kind of” a city, we have a lot of small towns. We have all kinds of industries from factory to fish industry, all the nature elements. If you want to make a sci-fi or a show situated in the Arctic circles, those are made here very regularly. Or if you need the snow, our landscapes easily convey the harshness of the winter.

Many exciting stories can be shared through or with Iceland as a partner. Creatively, but financially as well. Even though we are a small country, we have a big input financially along with a strong rebate scheme and soft fund support system as well. We have an active pre-buyer here in our three commissioners that are operating in Iceland. We have a lot to contribute.

Do you think Iceland is uniquely positioned to be a first-line co-production partner?

Being a small country, we are well-known to be a partner within bigger collaborations. I think for us, in many ways, it’s been a fairly straightforward process. We need to rely on other countries or other partners to elevate the projects that we are working on. When Iceland started to do international shows on a higher budget, it was known from the beginning that those kinds of financial structures needed to be assembled with foreign partners. When you’re aware of that from the beginning, you enter the collaboration with a little bit of a different mindset.

I think Iceland has a lot to give. And I’m lobbying for our government to put their focus on the co-production potential in our industry. Alongside the film institutes, they have been doing an exceptionally good job when it comes to marketing the capacity and the capabilities of the Icelandic industry, especially in the U.S. Now I would like to shift our focus to Europe. They are in more need now of a good co-production partner than before, and I think we can be that partner.

And how do you align the different elements across countries and companies to get the result that all parts want?

It’s a little bit like a marriage: you need to give some to get some. There’s not one way, there are multiple ways. You need a positive mindset and be willing to listen. I think when you enter a collaboration on those kinds of terms, it can be really fruitful, fun, and profitable. On the other side of the coin, there is the mentality of: “This is mine and you need to do what I tell you to do”. That approach is closer to a production service partnership and that’s just a completely different animal. In today’s climate, I think this is something that is going out and the healthy co-production is getting in.

From a creative standard, the industry seems less willing to take risks. How do you balance that factor when you approach a new project?

That’s a reality and I see it here in Iceland. We have a little output here when I look at the capacity of our commissioners. We are commissioning between eight and maybe 12 series a year. And my worry is that it will become a little bit monochrome. Everybody’s leaning towards the shows that can be financed at a steady pace.

But on the positive side, if we look at history, both through science and art, the best ideas, the big leaps, usually come in difficult times, when people have their back against the wall. And I believe that these times will generate that.

Cold Haven (2025)

Do you see AI and new technologies as a solution to some of the struggles of the industry?

Iceland has always been forward thinking when it comes to technology. We have a lot of companies that are developing software solutions. When it comes to AI within our industry, most production companies here are taking advantage of their software solutions for internal matters. But when it comes to visuals effects and other post production workflows, I do not see a big footprint right now. A lot of people are talking about it, but I think part of that plays into a lot of the post-production that’s taken outside of Iceland.

One of the things that excites me personally the most is the dubbing factor. I’m passionate about creating shows for my local audience, Icelandic shows in Icelandic, but that is an extremely difficult task. So I’m super excited to see if I can, in the near future, create relevant shows in Icelandic for my local audience, but have it dubbed with voice and lip-sync dubbing.

 What shows is Glassriver working on at the moment?

Some of the projects that we are in, have been announced throughout the months and years. We are in post-production on two series: Avalanche and Elma. Avalanche is inspired by true events and the reality of the constant threat of the mountains here in Iceland. And Elma is based on a book series, made in partnership with Mediawan Rights in France.

For this fall, we are optimistic to be in production on a show called Manifesto, set in a world where the first terrorist attack would take place in Iceland. We are also working towards Masquerade, a show that we pitched in Series Mania last year and is being co-produced through the US. And then also the series Hot Stuff [a co-production with Romania’s Idea Film]: we have already shot the portion of the show set in Iceland throughout the last winter and now we are waiting for the optimal season in Tenerife to wrap up that shoot there.

La entrada Andri Ómarsson, Glassriver: “Iceland can be a perfect partner in many stories” se publicó primero en TTV News.

Even in a scaled-down version and in the midst of a major overhaul, LA Screenings Independents remains a market of enormous importance within the Latin American audiovisual industry calendar.

By Luis Cabrera, from Los Angeles, USA

The 2026 edition of LA Screenings Independents wrapped up this Friday with its second and final day at the SLS Hotel in Beverly Hills, giving way to the start of screenings by the major U.S. studios.

It was a bittersweet outcome for the participants of LASI 2026. On the positive side, the event’s importance was reaffirmed, as was the organization’s wise decision to move the venue to the SLS Hotel in Beverly Hills, whose location and facilities proved to be better suited to its current format and scale.

However, the number of buyers in attendance—particularly on the first day—was not sufficient to fill the schedules of all the more than 50 exhibitors participating in the event. While several expressed satisfaction with the quality of the meetings held—a key element in market analysis—several others noted that there were significant absences.

The truth is that the current economic situation facing countries like Bolivia, Ecuador, and several others in Latin America has constrained broadcasters’ budgets, and it is not surprising that many did not attend or, as in the case of Uruguay, Peru, or Costa Rica, sent only small delegations.

LASI remains a key event on the audiovisual calendar; a very important gathering for the Latin American industry, serving as a bridge between the in-person events in January in Miami and those in October in Cannes or November in Cancún. The challenge lies in how to reposition Los Angeles as an unmissable event for all players in the Latin American industry, beyond its current status.

Announcements and Content News

During LA Screenings Independents 2026, several companies chose to make major announcements, such as TV Azteca, which launched its new production hub.

Canal 13 also showcased its strength in Los Angeles with a delegation comprising Cristian Ciudad, manager of Canal 13’s free-to-air TV division; Carola Silva, from the channel’s Culture department; and Mauricio Huenteneao, head of the International division. The Chilean channel is currently enjoying great success in both formats and micro-dramas as well as original production.

In terms of content, Atresmedia Sales once again showcased its spectacular catalog of premium titles, such as Las hijas de la criada, La Nena, and 33 días; while Record TV presented the remastered version of La esclava Isaura and previewed another remastering project, this time for the soap opera Esas mujeres.

At the same time, VIP 2000 shared its latest offerings, which include, foremost among them, the film La última semana de Jesús, set to premiere in October of this year.

CDC United Network, for its part, has high expectations for the comedy Coyote vs. Acme will have: “Without a doubt, I believe it is truly the product with the greatest commercial potential we’ve ever had in our history,” said Jimmy Van der Heyden, Sales Manager at the distributor.

On the Turkish content front, always a highlight of these events, ATV Distribution announced the second season of A.B.I: A Broken Inheritance, a title that has broken records in Turkey and hopes to replicate that success in Latin America.

The second day of LASI 2026 concluded with a cocktail reception hosted by Inter Medya (main photo) in its spectacular suite.

This Saturday, screenings by the major studios will begin, with Paramount and Disney being the first to host international buyers, and Telefilms holding its traditional event at the SLS Hotel.

La entrada LA Screenings Independents is Undergoing a Necessary Reinvention se publicó primero en TTV News.

With a new and highly praised venue, LA Screenings Independents opened the doors to its 2026 edition today at the SLS Hotel in the renowned Los Angeles neighborhood.

By Luis Cabrera, from Los Angeles, USA

LA Screenings Independents held the first of two days of its 2026 edition today at the SLS Hotel in Beverly Hills, showcasing a new venue that has been well received by attendees.

The SLS Hotel’s facilities have been the most praised aspect of this year’s event. Both its bright suites—some of which feature a beautiful garden—and its prime location have enhanced the event’s atmosphere, leaving attendees satisfied.

In total, more than 50 companies were present at LASI 2026, spread across the suites and the table area, located on the first floor and accompanied by a comfortable networking space that, like The Nook, the hotel’s restaurant, also hosted various meetings.

The Rise of Micro-Dramas

The industry continues to strongly invest in the vertical micro-drama genre, which takes center stage at LA Screenings 2026 thanks to the commitment of numerous companies from around the world.

From Turkey, Inter Medya—always at the forefront—is presenting a catalog of 20 vertical microseries at LA Screenings 2026, covering a wide range of genres: “I’m confident that after this market we’ll announce several sales,” said Beatriz Cea Okan, vice president and head of Sales and Acquisitions at Inter Medya.

Screenbright, for its part, is innovating by using artificial intelligence to produce its title Mia Rockstar: “It’s very well produced, and that’s what we’re banking on—that it will be the first of many,” predicted Andrés Santos, CEO and founder of Screenbright Media. “The first season ends on a pretty interesting cliffhanger, and the idea is to keep producing more seasons—to make it an ongoing series for many seasons—so the story builds more anticipation. We already have several clients who’ve asked us for episodes.”

Even a giant like Globo, which currently focuses on selling its top-rated content as well as the scripts of the major hits in its library, is also betting on the new genre with titles such as Todo Por Una Segunda Oportunidad and Una Niñera Milionaria.

Drama Reigns Supreme

Of course, the emergence of vertical series complements—rather than replaces—traditional offerings of series and feature films.

Among Turkish content, in addition to the aforementioned Inter Medya with titles such as Halef and Eshref Ruya, other well-known distributors at LASI 2026 include ATV Distribution, Calinos Entertainment, Kanal D International, and Mediahub.

Calinos is presenting one of the freshest dramas on Turkish TV, Ugly (La fea, in its Spanish title): “It’s a series that has aired eight episodes in Turkey on Sundays, leading the ratings in all demographics,” said Cristina Duffy, Sales Executive for Latin America at Calinos Entertainment.

Kanal D International, for its part, is celebrating the sale of Sins & Roses, one of the season’s biggest hits—with a second season already confirmed—which has just been acquired by Mega in Chile.

Meanwhile, Elif Turna, Sales and Business Development Manager at Mediahub, revealed that “We will likely announce new deals for Bitter Justice within a month.”

In South America, Seriella is experiencing a boom in its drama division, with four productions in the pipeline for 2026, all of which have already been acquired by Disney+: “This agreement is very gratifying for us, because it recognizes the quality of our products—past, present, and future,” noted Natan Oletto, Commercial Projects and Acquisitions Coordinator at the company.

Another Latin American company showcasing the best of its catalog in Los Angeles is Comarex, featuring content from Mexico’s Canal Once, dramas from Chile’s Canal 13, and religious programming from Mediaset.

The Success of Formats

Running alongside the drama content are formats, with titles such as Power Couple, The Auction, and ¿Apostarías por mí? from Dori Media finding success in different territories and continents.

“The success of ¿Apostarías por mí? is very important to us. We want to sell it globally, just as we continue to do with Power Couple,” emphasized Nadav Palti, CEO of Dori Media.

The production company JK Media, responsible for the docu-reality series Sin Filtro, also visited the SLS Hotel to present its latest offerings, which include new episodes of Sin Filtro and the production of live events.

LA Screenings Independents 2026 will continue tomorrow with another full day of events at the SLS Hotel in Beverly Hills.

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