Among the star-studded group of creators at this year’s Series Mania Seriesmakers is a list that includes “Falke Motors” by Jens Dahl from “Pusher,” the team behind “Stick ‘Em Up,” winners of Series Mania with “Blackport,” and “The Wonderful Golem” from “The Cakemaker’s” director, Ofir Raul Graizer.
A distinctive mentorship program for first-time TV series creators is launched in 2025 by Seriesmakers. This program aims to refine the skills of those who have already created “Blackport,” as well as newcomers. In addition, Seriesmakers are now focusing on a business-oriented approach, while Series Mania is highlighting shows that can thrive amidst fierce competition in the TV drama market without compromising their artistic vision.
At this year’s event, we’ve hosted a variety of esteemed figures who are the masterminds behind renowned TV series that have significantly impacted contemporary television storytelling. These include Christian Schwochow, the creator of “The Crown,” Quoc Dang Tran from “Call My Agent!”, Frank Doelger, a multiple award winner for “Game Of Thrones,” Bryan Elsley, the showrunner of “Skins,” Frank Spotnitz of “The X-Files,” and Lila Byock from “Watchmen.
As a passionate cinephile, I’m deeply involved in the creative process at the heart of Series Mania Forum – Europe’s premier TV festival’s industry hub. This vibrant platform is backed by the formidable influence of Beta Group, a powerhouse in European film and television production.
Dahl, co-author of “Pusher” with Nicolas Winding Refn, is working on a project titled “Falke Motors.” This is a hard-boiled, witty family crime drama that unfolds in the windy landscapes of Western Jutland, Denmark.
The heartwarming and tragic family biopic “Stick ‘Em Up” was penned and helmed by the masterminds behind “Blackport,” Gísli Örn Garðarsson and Björn Hlynur Haraldsson. This film is set in the very same 1990s Icelandic fishing town as “Blackport,” blending elements of a family saga with those of a somber comedy, which won the top prize at the 2021 Series Mania festival.
Following the success of “The Cakemaker” and blending melodrama with identity struggles in “America,” in “The Wonderful Golem,” Graizer ventures back into one of his earliest passions, horror writing, by creating a genre-blending TV series. This project is being developed alongside “Eyes Wide Shut” producer David C. Barrot.
Discussing various series, there’s also praise for the AI-themed Spanish political thriller “The Interregnum,” produced by Oscar winners Tornasol Media; for “Pigs Disco,” a show acclaimed for its authenticity from the innovative British duo Joseph Bull and Luke Seomore; for “Unequal,” a series emerging from Brazil’s burgeoning TV scene of artistic ambition, which has bloomed in the last decade; and for “Le Bouton d’Or,” Mika Kaurismaki’s first step into the often captivating world – for viewers at least – of French haute cuisine.
2024-25’s Seriesmakers Finale will culminate at Lille’s Series Mania Forum this year on March 26, where one winning team will be granted the Beta & Kirch Foundation Award in partnership with HFF Munich. This prestigious award comes with a substantial cash prize of €50,000 ($54,000). The victorious team will subsequently collaborate closely with Beta’s Content and Co-Production Division to draft a pilot script and a comprehensive production package.
Over the past year, I’ve had the privilege of learning and growing as a filmmaker, collaborating with talented director-producer and director-writer teams hailing from all corners of the globe. Throughout this journey, I’ve been fortunate to receive guidance and mentorship from esteemed and award-winning industry veterans, helping me refine my series concepts and prepare a comprehensive pitch deck for potential projects.
For the 2024-25 edition, we welcome back several accomplished mentors:
* Janine Jackowski from Germany, a producer for “Toni Erdmann” and “Spencer”
* Isabelle Lindberg Pechou, a French-Danish development producer who has worked on the Faroes Noir thriller “Trom” and served as an executive at France Televisions and REinvent Studios
* Felipe Braga from Brazil, an innovative TV show creator (“Sintonia”) and writer-producer (“Lov3”) who is now working on a film titled “Nico” after returning to cinema
* Ronit Weiss-Berkowitz from Israel, a script doctor and creator of “The Girl From Oslo,” as well as co-creator of the critically acclaimed series “The German,” which was one of the most anticipated titles in 2025’s Series Mania competition.
The collaborative project known as Seriesmakers is spearheaded by Laurence Herszberg, General Director of Series Mania, and Ferdinand Dohna, Content & Co-Production Head at Beta Group. This venture was originally conceptualized by Laurence Herszberg and Koby Gal Raday, CEO of Janeiro Studios, and it officially debuted in the year 2022.
A brief breakdown of selected projects:
As a passionate advocate for gripping narratives, I’d like to highlight a captivating crime thriller hailing from the Emerald Isle: “A Person of Interest,” masterfully crafted by the talented duo Michael Kinirons (writer-director) and Fergal Rock. This Irish production promises an engaging journey into the world of crime.
Following a promising first film, “Sparrow” (praised by The Irish Times as beautifully made and superbly acted), Kinirons moves into the realm of procedurals with the script for “Rock,” starring Asa Butterfield. When the boyfriend of a homicide victim goes missing, Detective Laura Aspel suspects his guilt. However, retired detective Martin McDaid connects the case to an unsolved triple murder, setting off a dangerous cat-and-mouse game where they chase a fugitive who could either be a murderer himself or hold the key to revealing the true killer, as suggested by the plot summary.
The Golden Button” (A 6×45′ Drama-Comedy by Directors Mika Kaurismäki, Anastasia Pashkevich, and Anna Andersson, from Finland)
In a new international endeavor, renowned global filmmaker Mika Kaurismäki (“Tigrero,” “L.A. Without a Map”) delves into the drama genre for the first time. This captivating series follows a Finnish food influencer whose career took a downturn, who decides to join a prestigious culinary school in France. There, she encounters someone she believed had passed away – her mother. As Capurro puts it, “This is a humorous tale infused with the Kaurismäki flavor, promising appeal for all audiences due to its setting at a French culinary school, central female character, and lighter tone.
“Cow’s Tongue,” (director Aly Muritiba, creator-writer Marc Bechar, Brazil, crime thriller)
In the jungles of her lawless Amazon hometown, Maíra seeks vengeance for her brother’s murder. She stumbles upon a brutal crime syndicate deeply rooted in politics, responsible for the vanishing of numerous truckers, and uncovers secrets about her own past. This gripping tale, based on real events, titled “Cow’s Tongue,” is hailed by Brazilian filmmakers behind hit indie web series “The Messenger” and acclaimed social-focused auteur Aly Muritiba (“Rust,” “Private Desert”), as well as notable TV director of “The Evandro Case.” The series delves into the themes of silence, complicity, revenge, and the relentless cycle of violence.
In ‘Death Takes a Liking,'” (directed by Joseph A. Adesunloye and written by Gabriel Winter, from Nigeria, a blend of fantasy and dark comedy)
Among the unique offerings, there’s a 30-minute series, titled “Death Becomes Him,” set in Lagos, where the protagonist Jaye, often described as unpredictable, meets an accident and is miraculously revived with powers similar to those of Jesus Christ. Having turned down quick paths to wealth, he now uses his newfound abilities to prevent Lekan, a malevolent character, from seizing control over Isale Eko, the banking and commercial heart of Lagos. This series is directed by British-Nigerian filmmaker Joseph Adesunloye, whose work “Vanilla,” starring and co-written by Winter, premiered at Locarno First Look in 2023. Adesunloye was also nominated for a BIFA for his directorial debut “White Colour Black.
Falke Motors” (a 6-episode series written and directed by Jens Dahl, produced by Anders N.U. Berg, hailing from Denmark, in the genres of crime and drama)
22-year-old me, a budding YouTuber, finds myself torn between my family ties and the unsavory business that’s hidden behind our seemingly legitimate used-car dealership – a cover for a network dealing in stolen vehicles and illicit drugs, backed by ruthless criminals. As my online popularity escalates, I’m faced with an agonizing decision: to uphold family loyalty or carve out my own path towards a brighter future. This gripping tale comes from the creative mind of Roald Dahl, who also brought us “Lulu & Leon.” Produced by Berg at Copenhagen’s Fredo Pictures, a company dedicated to producing commercially successful genre series and films by both Danish and international auteurs.
The title refers to ‘The Interregnum,’ which is a period in history when there is a power vacuum or lack of clear leadership. This six-episode, 50-minute-long political thriller was created, directed, and written by Simón Casal, produced by Mariela Besuievsky, and hails from Spain.
In the film “Justicia Artificial,” similar to Casal’s production “The Secret in Their Eyes” from Spain’s award-winning Tornasol Media, we move forward to 2031 where the European Union holds a referendum to approve an AI system as a replacement for human judges. The story follows Inma and Lyda, who are campaign managers for the ‘Yes’ and ‘No’ factions respectively, as they fiercely compete to win. However, a disturbing truth about the demise of the AI system’s creator, Alicia, could not only alter the course of the campaign but also shake their very foundations, revealing hidden aspects of themselves.
“Pigs’ Disco,” (writer-director duo Joseph Bull and Luke Seomore, U.K., 4 x 60’, drama-biopic)
Based on real-life events and set in Belfast during the early ’90s, this coming-of-age story revolves around a young British paratrooper who must decide between the intense world of military life and the exhilarating allure of the emerging rave culture that brings together teenagers from both Catholic and Protestant backgrounds. This is the debut series from a duo known for their diverse works in abstract and narrative cinema, gaining acclaim for “Blood Cells” in 2015. As Capurro suggests, if executed skillfully, the music of this particular era could give the series a unique identity.
Hands Up High,” (Gísli Örn Garðarsson and Björn Hlynur Haraldsson, Iceland, 8 episodes of 40 minutes each, a blend of drama and biography)
In the movie “Stick Em Up,” as Iceland’s government aims to regain fishing quotas that were recently sold off, the owner of Reykjavik’s fishing company, Harpa Sigurðardottir, recognizes that her only option for maintaining her quota is to take over a local bank. This task is quite daunting. Garðarsson and Haraldsson are exceptionally skilled individuals who excel at narrating highly specific stories that resonate with a broad audience, according to Capurro.
Inequality” (a six-episode, 45-minute thriller, heist, and drama series produced and directed by Carolina Jabor, written by Cláudia Jouvin, from Brazil)
A girl from a modest upbringing, adept at subtle deceptions against the affluent, crosses paths with the millionaire who caused her distress. In response, she chooses to employ her abilities for retribution.” Jabor, renowned for collaborations with Lucas Paraizo on “Liquid Truth” and Clarice Falcão on “Elected,” has emerged as one of Brazil’s leading female directors. Here, she teams up with Jouvin, a writer from the hit series “Under Pressure” and director of L.O.C.A. The film ‘Unequal’ tackles a crucial issue in combating populist right movements: social equality,” says Dohna.
The Marvelous Giant Clay Creature”
(Filmmaker – Director Ofir Raul Graizer, Producer David C. Barrot, [United Kingdom, 8 episodes x 60 minutes, genre: Drama/Fantasy])
26-year-old British expatriate Simon Low, living in Prague, unleashes an ancient, powerful being. In the face of rising oppression, Simon employs this monster to safeguard the city, finding himself at the heart of a struggle that surpasses his understanding, as suggested by the logline. Dohna, our team member, shares that we were seeking a fantasy series and found one that takes an established myth into modern times – which can frequently be compelling – set against the captivating backdrop of Prague. “It’s a fantasy series with a strikingly relevant political message,” notes Capurro.
EbMaster also chatted to Dohna and Capurro in the run-up to the Series Mania Forum.
Currently, the market’s primary goal is engaging with audiences, as Jens Richter, Fremantle CEO commercial and international, recently pointed out to EbMaster. It seems that this has always been a key objective for Series Mania, but it’s particularly evident in this year’s selection…
Francesco Capurro: One significant distinction between films and TV is that TV tends to prioritize its audience, a point stressed by Seriesmakers within their productions. While many film directors, particularly those from art-house movies, may not have fully adopted this viewpoint yet. In times like these, it becomes increasingly crucial, especially during trying periods such as the present.
In the realm of entertainment, the experience between cinema and serialized television is reversed compared to their predecessors. In cinema, you’re the one crafting the narrative that the audience comes to engage with, similar to how they experienced plays in the theater. On the other hand, when creating a TV series, it’s like writing a novel where you’re delivering your story to the audience, much like how early television series were based on novels. The debut of SeriesMakers was a fresh concept. Now, filmmakers are more adept at understanding the creative process and are becoming more accustomed to telling stories for TV.
Simultaneously, this year’s picks feature a larger number of directors who have previously showcased their work at prestigious film festivals and can be classified as independent art-house cinema. This includes Aly Muritiba, Ofir Raul Graizer, Carolina Jabor, and Jens Dahl, who collaborated on the box office success “Pusher.
This year, we’ve broadened our submission criteria. Previously, only films that had been chosen for A-list film festivals were eligible. Now, we accept entries from filmmakers whose feature films have been commercially released, regardless of festival selection. As a result, we’re receiving more applications that are mainstream in nature, focusing on projects and talents.
At the London TV Screenings, a significant portion of the displayed series could be categorized as crime thrillers. Notably, there are at least three such series featured in the Series Mania lineup…
Capurro: At Seriesmakers, we strive for a balanced variety, offering science fiction, historical series, political thrillers, and more. We aim to keep things interesting by exploring different aspects of each genre. The “crime thriller” category is particularly versatile, lending itself to numerous interpretations. Thrilling elements are essential in series as they foster audience anticipation for the next episode.
When it comes to crime thrillers, as producer Walter Iuzzolino pointed out in “Bookish” with Mark Gattis, it’s crucial to offer something fresh. Can you explain the uniqueness of “A Person of Interest,” “Cow’s Tongue,” and “Unequal”?
“Person of Interest” stands out as a timeless crime series, and its characters are so vivid they seem almost real, thanks to the actors’ proven abilities. In contrast, the show “Cow’s Tongue” offers a fascinating historical backdrop – the escalating violence in the Amazon – that sets it apart from other productions.
Unequal”
Description: This gripping crime thriller primarily revolves around a strong, young female protagonist. The pitch deck is engaging and the series offers an erotic edge. Essentially, it’s a tale of retribution through sexual means.
Crime thrillers often delve into providing insights about genuine human nature, as numerous outstanding series predominantly focus on the exploration of people’s actions, motives, and repercussions…
In TV series, it’s crucial to focus on characters’ relationships as this is a key element that consistently resonates with audiences. This aspect is less important in theater or cinema where strong individual characters can thrive even when they are solitary figures. On the other hand, TV shows demand exploration of character connections and dynamics to keep viewers engaged. If these relationships are not complex, the series may become dull. This is why mafia dramas, which encompass both family ties and criminal activities, work effectively in TV format.
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2025-03-12 11:19