Canneseries 2025: ‘Duster’ Dazzles, Jeffrey Dean Morgan Charms, and Other Highlights

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CANNES – The French television festival Canneseries kicked off a fresh chapter this week, hosting its inaugural independent event. Unlike previous years, it did not coincide with the MipTV or Mipcom events that typically attract a large number of buyers directly adjacent to Canneseries screenings. Instead, they were standing apart.

The artistic director of Canneseries, Albin Lewi, emphasized at Canneseries that the festival isn’t primarily focused on physical attendees (buyers), but rather “buzz” or word-of-mouth publicity generated by being selected for the event. He stated, even if buyers aren’t present, this buzz can significantly influence the market. Furthermore, he noted that many professionals in our industry have multiple roles and that all the series are backed by international distributors.

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Canneseries Artistic Director Albin Lewi explained at Canneseries that the event isn’t just about face-to-face buyers, but it’s more about creating a buzz or word-of-mouth publicity through selection. He added that even if buyers aren’t physically present, this buzz can still impact the market significantly. Furthermore, he pointed out that numerous professionals in our industry play various roles and that all the series are supported by international distributors.

Instead of representing buyers, Canneseries established or introduced Producers, Writers, and Composers Clubs consisting of numerous industry professionals. However, was this approach effective? Here are ten insights into the revamped Canneseries, which took place from April 24-29:

1. The event attracted a diverse range of international participants.
2. There was a focus on high-quality storytelling and innovative formats in series production.
3. Collaboration between creators, distributors, and broadcasters was emphasized.
4. The networking opportunities provided were valuable for industry professionals.
5. A strong emphasis was placed on the importance of gender equality in the industry.
6. The event showcased a wide variety of series, including those from emerging markets.
7. Canneseries continued to prioritize supporting new and upcoming talent.
8. There was an increased focus on virtual reality and immersive storytelling experiences.
9. The festival provided valuable insights into the latest trends in the industry.
10. Overall, Canneseries demonstrated a commitment to pushing the boundaries of television and digital storytelling.

“Duster” Dazzles 

Indubitably, the highly acclaimed American television series that graced Canneseries left local spectators in awe. The much-anticipated “Duster,” produced by J.J. Abrams and LaToya Morgan, was hailed as the standout screening at Canneseries according to Levi. “The audience was exhilarated. Having a series from J.J. Abrams with LaToya Morgan and Josh Holloway was like a dream. It’s an America we adore from the ’70s. The production value is exceptional. It was more than just successful; it was extraordinary. I’ve never seen people so delighted leaving a theater,” says Levi. French newspaper Le Parisien awarded “Duster” four out of five stars for its authentic recreation of the 1970s era and the show’s “pop-infused feel, allowing it to blend fun, action, and sensitivity, tackling themes such as racism and grief.” EbMaster had a lively conversation with Holloway and LaToya Morgan.

“The Walking Dead: Dead City,” Season 2: Jeffrey Dean Morgan Charms

The intense adoration for stars from “The Walking Dead,” particularly Morgan and Negan, is evident among international viewers, especially in Europe. These characters are highly popular, with Morgan even being a fan favorite. At Canneseries, Morgan, along with his family, left his mark on the Cannes Walk of Fame. His character in “The Walking Dead: Dead City” forms a complex friendship with Maggie, portrayed by Lauren Cohan. According to Lewi, “Dead City” is primarily focused on Jeffrey Dean Morgan’s character. Some fans initially wanted more violence in the early episodes, but later praised the series for its improvement, with Season 2 set to premiere May 5 on OCS in France. Critics have hailed the second season as a strong return, with higher stakes and increased viewer engagement.

‘Bridgerton’s’ Nicola Coughlan Proves Her Huge Fan Base

Despite numerous bustling industry events, it was Nicola Coughlan who drew the largest crowds at the Palais. Long lines for her conversation started early, with an enthusiastic group of teenage girls filling up the spacious auditorium from front to back, and even more fans standing in the back eagerly waiting for their chance to catch a glimpse of the “Bridgerton” star during her hour-long talk. Coughlan was in town to receive the Commitment Prize from French media company Konbini, and she spoke extensively about her activism, the popular period drama on Netflix, and her recent BAFTA-nominated work titled “Bad Mood.

Buzz Titles

Among the notable French series that garnered praise this season, I found myself particularly captivated by “The Corsican Line,” a gripping mafia thriller produced by Canal+ and Studiocanal, set against the breathtaking backdrop of Corsica, meticulously portrayed by creator Pierre Leccia and featuring the talented Lina El Arabi. Malin-Sarah Gozin’s “Dead End” and “Reykjavik Fusion,” led by “Severance’s” Ólafur Darri Ólafsson, were two strong contenders in the main competition. Cosmopolitan France’s Melanie Bonvard bestowed one of her highest ratings on the docuseries “Hello Stranger.” The short-form YA show “N00b,” supported by WBD New Zealand and adored by several other French critics, was described by Bonvard as a ‘charming coming-of-age gem.’ Other standouts included “Malditos,” an action-packed crime thriller centered around a gypsy community that Cosmopolitan France predicted could become a French phenomenon. Belgium’s “Holy Shit,” shown out of competition, also gained a following, particularly for Mona Mina Leon’s exceptional portrayal as a Tourette’s Syndrome sufferer determined to become a school teacher in the series.

Norway’s Big Win at Canneseries

On April 29th, the Canneseries awards were presented at the Palais des Festivals. However, it was Norway that dominated the ceremony. “A Better Man,” directed by Thomas Seeberg Torjussen, won both best series and best performance for its lead actor Anders Baasmo. Meanwhile, Henriette Steenstrup’s “Nepobaby” earned the screenplay award and a special interpretation prize for its talented cast ensemble. To add to Norway’s triumph, “The Agent – The Life and Lies of My Father,” directed by Magnus Skatvold, took home the best documentary award. Historically, Norway has been overshadowed by Denmark and Sweden in terms of high-quality TV productions. But that has changed now. All three winning titles shared a common trait: they were capable of addressing pressing issues while still being entertaining.

Canneseries Business

However, did Canneseries prove beneficial for business? It was quite noteworthy that numerous top contenders from the main competition were either secured for international distribution prior to the festival, such as “Dead End” and “A Better Man”, or were still securing pre-sales when they premiered at Cannes, like “Reykjavik Fusion”, distributed by The Mediapro Studio Distribution. The screening of ‘L/Over’ was particularly successful, with REinvent’s marketing and sales director Helene Aurø expressing her delight over the large crowd that gathered outside the Grand Auditorium of the Palais des Festivals to catch a glimpse of star actor Krista Kosonen. At the time of reporting, Aurø was deeply engrossed in negotiations to finalize deals for several territories for the Finnish series.

Canneseries Still Needed

Despite being a small-scale event, EbMaster found it surprising to easily secure one of the prime tables on the Majestic Hotel terrace, an unlikely feat during the Cannes Festival. Nevertheless, Canneseries remains a valuable addition to the TV schedule, according to distributors. “It’s wonderful that Canneseries continues and the organizers do an excellent job at connecting people,” said Aurø. She plans to extend her stay next time to meet the dozen broadcasters who attended the Broadcasters Conclave during Canneseries’ Industry event. “We require a spring market,” she emphasized, expressing that MipTV was a significant platform for encountering many potential buyers.

Industry Trends: The Bands Are Getting Together Again

Canneseries found itself at the center of another significant shift in the global TV industry. The series it featured emphasized a financing approach that was becoming increasingly appealing for foreign-language productions, particularly those not produced in English. This method involved securing partnerships and pre-selling to local European broadcasters instead of waiting for a deal with a U.S. streaming platform, which could be challenging for non-English shows. For instance, Canneseries’ “Reykjavik Fusion,” produced by Iceland’s ACT4, Wild Sheep Content (headed by former Netflix executive Erik Barmack), and pan-European broadcaster Arte, followed this model. Wild Sheep has already sold over 25 projects to 12 global partners in their four years of operation. “Reykjavik Fusion” was traditionally packaged but had the support of Iceland’s Símmin and was pre-sold to AMC Iberia and Finland’s YLE. According to Barmack, Scandinavian shows were once assembled with four or five broadcasters, similar to a band coming together.

The U.S. Looks to Europe

At Canneseries, the French TV festival, there’s been increased interest from prominent U.S. players moving towards Europe. David W. Zucker of Scott Free shared with EbMaster, “In the past, Netflix and Amazon dominated globally, making acquisition discussions impossible. Now that things are changing, there isn’t just a willingness but an opportunity to rebuild partnerships. This is something we’re all keen to investigate.” Sharon Hughff from Scott Free added, “I’m familiar with the Spanish market, but not the French. Today, I had the chance to meet a French producer and discuss a specific show. Honestly, it was educational for me.

The Biggest Way Forward as an Industry

In the near future, a significant shift might occur in the variety of methods used for content distribution. As Barmack stated recently, there’s a growing preference among producers and networks in Europe towards adaptable distribution strategies and flexible windowing. This desire is not only about forming collaborations but also about sharing experiences, camaraderie, and inspiration within the industry. Amelie von Kienlin from Amusement Park Film (“MunichGames”) emphasized this during Canneseries’ Producers Club in Cannes, pointing out that while international co-productions can be challenging due to the demand for local content, there’s been a noticeable increase in cooperation among streamers and broadcasters within their home territories, opening up new opportunities.

Deals: 10 of the Best

On the eve of Canneseries, Banijay Entertainment unveiled plans to revive the series “Wallander” with a contemporary update, featuring Gustaf Skarsgård in the lead role. The three titles previously announced for Canneseries were: “The Big F*ck Up,” “How to Murder Your Sister,” and “Nothing Can Wipe Out Your Memory.

In another significant deal involving a Canneseries attendee, just one day prior to her appearance at Canneseries, Jane Tranter’s Bad Wolf unveiled a new, as-yet-unnamed drama for Apple TV+, inspired by “Metropolis,” which is part of Philip Kerr’s popular book series “Berlin Noir.” Written by Peter Straughan, who worked on “Wolf Hall,” this serial killer thriller is set in the bustling 1928 Berlin and has been compared to “Wallander” as a major crime series.

Mediawan has secured significant licensing agreements for the television series ‘The Count of Monte Cristo,’ starring Sam Claflin, with various outlets such as PBS Masterpiece (USA), UKTV (U.K.), TVE (Spain), RTS (Switzerland). The series concluded at Canneseries on April 29 and has also been purchased by all five Nordic public broadcasters: SVT, NRK, DR, YLE, and RUV.

Prior to the Canneseries festival, Federation Studios acquired international distribution rights for “Dead End,” a highly anticipated title competing in the main category. This thriller is the latest work by Malin-Sarah Gozin, who is known for blending genres as demonstrated in her series “Tabula Rasa.” Interestingly, “Clan” served as inspiration for the popular show “Bad Sisters.” Now, it’s possible that “Tabula Rasa” may inspire an English-language remake, according to its producer at Cannes.

*Sound Network (SND) now holds global distribution licenses for the action-comedy “My Wife is a Spy,” featuring Marie Gillain (“Under the Influence”), which had its debut at Canneseries.

Wild Bunch Television is now working on the Spanish crime thriller series titled “The Clan Olimpia.” This show features Zaira Romero, a standout from the film “Carmen and Lola,” as a once-housewife who becomes a drug lord. Additionally, they are also producing “Single Bells,” which hails from De Mensen, known for their works such as “Undercover” and “Hotel Beau Séjour.

Angelina Jolie and Ellie Goulding have joined the cast of “Bee:Wild,” an environmental documentary directed by Rebecca and Josh Tickell, which will be screened at the South by Southwest (SXSW) festival in London.

Marianne Furevold Boland, the producer of ‘Skam’ and head of NRK drama, revealed their 2025-26 program schedule, which includes “A Better Man,” a series that was well-received at Canneseries.

The award-winning series “Nepobaby,” produced by Henriette Steenstrup of “Pørni,” has secured its first deals: it will be broadcast on Be.tv in Belgium and RÚV in Iceland.

As a follower, I’m excited to share that “Null47,” a popular streaming platform catering to the youth and YA audience in Norway, has given the go-ahead for Season 2 of the Beta Film-owned series, “Rebound.” This compelling drama revolves around the emotional journey following a break-up, and I can’t wait to see how the story unfolds in its next chapter.

As the creator behind “Moominvalley” and “L/Over,” I, Marika Makaroff, am eagerly preparing for my next project, “Love Is…” under the revamped Gutsy Pictures label.

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2025-04-30 10:18