World
Series Mania, Beta Group Open Up Seriesmakers to Directors of Box Office Hits, Lesser Known Filmmakers (EXCLUSIVE)
Seriesmakers, twinning Series Mania, Europe’s biggest TV fest, and European film-TV powerhouse Beta Group, is opening up its selection criteria to embrace directors of box office smashes or hits at festivals beyond “A” list events.
Launching 2022 as a project-based mentorship program for film directors aiming to become TV series creators, Seriesmakers has fast consolidated as one of Europe’s top-notch training facilities.
“Game of Thrones” producer-director Frank Doelger, “Babylon Berlin” producer Stefan Arndt, Ron Leshem (“Euphoria,” “No Man’s Land”) and “Narcos” creator Chris Brancato featured as speakers at its 2023-24 edition.
Led by Cannes Grand Prix winner Juho Kuosmanen (“Compartment No. 6”), seven of the 10 TV projects showcased at its first 2022-23 edition were from directors who had been selected for the Cannes Film Festival.
Now, as it prepares its third edition whose call for applications closes June 20, Seriesmakers is aiming for a larger inclusivity.
For its first and second editions, being chosen in official selections of a “A” list festival was required for a director to even be considered for Seriesmakers, Koby Gal-Raday, Beta Group chief content officer, told Variety.
“Series Mania and the Beta Group has had near daily discussions about how Seriesmakers could better support the industry, opening up and expanding without losing its very high-level program,” he added.
“More and more filmmakers are interested in making TV shows. Creativity is not defined totally by “A” list festival selection which focuses often on up-and-coming talents and highly established “A-list” icons. That leaves out a whole middle section of directors and we have a lot of talented people who apply to other festivals, not “A” list events,” said Laurence Herszberg, Series Mania general director.
Local box office hits may not even go to festivals, Gal-Raday observed. “Their creators, however, are still cinema directors who don’t understand – or as yet don’t know how to play by – the rules of TV,” he continued.
While opening up to a broader range of directors, Seriesmakers will maintain its structure of two intense online workshops and mentors who coach director-producer or director-writer teams. Between workshops, two mentors maintain a weekly contact with the creative teams of each project. Teams will not be allowed to be larger and Seriesmakers will not grow its umber of selected projects from the current 10.
“We believe very much in the intimate, very human process between two mentors and creative duos. Anything larger and it becomes a group session, which has a differ dynamic,” said Gal-Raday.
Second edition mentors were German producer Janine Jackowski (“Toni Erdmann,” “Spencer”); Israeli writer-script doctor Ronit Weiss-Berkowitz (“The Girl From Oslo”); Isabelle Lindberg Pechou (“Trom”); and Brazilian producer-writer Felipe Braga (“Sintonia”).
“I’m very honoured, surprised and humbled that most of them are quite happy to join again,” said Gal Raday.
Seriesmakers’ third edition will run four months from November 2024 through February 2025. For the third edition, there will be one main award of €50,000 ($54,500) entitled the Beta| Kirch Foundation Award. The winning team will be announced during the 2025 Series Mania Forum in Lille, France and will develop a pilot script and a bible for the awarded project with further creative support from Beta’s Content Division
Variety chatted to Herszberg and Gal-Raday as they looked forward to a 3rd Seriesmakers:
One hallmark of Series Mania and Seriesmakers is the high artistic ambition of its titles. Would you be looking for that from more commercial directors?
Herszberg: Yes, that’s something we really pay attention to. That the project has something which is of value. It’s not that we ask a filmmaker to write a thesis about that, but we have to see the potential. The training sessions will help directors tease out that potential.
Looking at this year’s Series Mania, there were social-issue series such as All3Media Intl’s “Boarders” and Beta Film’s “Soviet Jeans” which had an agenda – equitable access to elitist education and freedom-pushing counter culture in 1979 Soviet Latvia – which were at the same time broadly upscale, fast-paced entertainment. Would you want that?
Herszberg: The best way to have a success, something popular, is to layer something that will make people think. Yes, of course we want that.
Gal-Raday: I was amazed to see that at Seriesmakers’ first two editions most filmmakers coming from extreme arthouse cinema were very keen to have an audience. Commercial arthouse is not an obscene phrase. The winners at Cannes in many sections were commercial arthouse, not pure arthouse.
So you’d welcome series which are kind of hybrids?
Gal Raday: Yes, we can find and identify singular voices, original stories, that answer the criteria of an artistic vision. But they still use some tools of mainstream television, obeying genres and then redefining them. We just get better television.
Does opening up Seriesmakers mean opening up in geographical terms?
Gal-Raday: The “A” list festival is a very determined list. We have got a lot of interest from MENA, Asia and Latin America where there are not so many qualifying festivals. We’re responding to the industry and markets from those regions.
You’ve said you’ll maintain the system of tutors and members…
Herszberg: We made a survey, asked participants about the mentors, and they all said they were really top notch. Their support is really appreciated because it’s not that easy when you’re trying to create another redo and you don’t ever know if you’re going the right way. It’s better to have someone supporting you and telling, yes, that’s a good direction, or not.
Any other changes?
Gal-Raday: We are looking a bit at the structure of the workshops: How many hours a day, how to structure so that they’re more operational. The fact creators are based in very different time zones around the world makes it challenging to use the same timeline. A very good project manager can handle that.
World
Studiocanal Reveals Sales on Multiple Cannes Market Titles, Including ‘The Midnight Library,’ ‘Words of Love,’ ‘Another Day’
Studiocanal has revealed that it has closed sales on multiple films that either premiered at the Cannes Film Festival or are on its development and production slate, including “The Midnight Library.” The company also said it is negotiating presales on the new Paddington animated film.
“The Midnight Library,” starring and produced by Academy Award nominee Florence Pugh, emerged as one of the hottest titles at this year’s Cannes Film Market. After a competitive bidding war between studios, the film sold to Paramount Pictures for North America and numerous foreign territories.
Beyond Paramount’s territories, “The Midnight Library” will be distributed by Scanbox in Scandinavia, Sun Africa Group/MultiChoice in South Africa, and Filmcoopi in Switzerland. Studiocanal will release the film across its territory footprint, including the U.K., France, Germany, Italy, Poland, Benelux, Australia and New Zealand.
Studiocanal also closed deals for Rudi Rosenberg’s Un Certain Regard film “Words of Love,” Volker Schlöndorff’s “Visitation,” Jean-Pierre Jeunet’s “Violette,” Jeanne Herry’s Cannes competition selection “Another Day,” Simon Stone’s “Elsinore,” Jonathan Schey’s “Everybody Wants to F*ck Me,” Danny Boyle’s “Ink” and Fred Cavayé’s “Les Misérables.” Studiocanal will release the films in its territories.
Sales for the films are as follows:
“Elsinore”
Anuvu for airlines, MCF for Ex-Yugoslavia and Bulgaria, Spentzos for Greece, ADS for Hungary, Lev for Israel, Lusomundo for Portugal, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, Filmcoopi for Switzerland, and Bir Film for Turkey. It will be released in the U.S. in 2027 by LD Entertainment.
“Everybody Wants to F*Ck Me”
ACME for the Baltics, Prorom for Eastern Europe, Blitz for Ex-Yugoslavia, Myndform for Iceland, Lionsgate for India, Lev for Israel, Imagem for Latin America, Mongol Films for Mongolia, Lusomundo for Portugal, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, KTH for South Korea, Filmcoopi for Switzerland, Catchplay for Taiwan, and Svoe Kino for Ukraine.
“Ink”
Echolake for airlines, Cinelibri for Bulgaria, VVS for Canada, AQS for Czech Republic and Slovakia, Karantanja for Ex-Yugoslavia, Spentzos for Greece, Cinetel for Hungary, Myndform for Iceland, MVP for India, Shoval for Israel, Mongol Films for Mongolia, Lusomundo for Portugal, Independenta for Romania, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, NK Content for South Korea, Wanda for Spain, Ascot Elite for Switzerland, Fabula Films for Turkey, and UFD for Ukraine.
“Les Miserables”
Skeye for airlines, ACME for the Baltics, Cinelibri for Bulgaria, TVA for Canada, AQS for Czech Republic and Slovakia, Karantanja for Ex-Yugoslavia, Pathé Touch for French-speaking Africa, Spentzos for Greece, ADS for Hungary, Synapse for Latin America, GSC for Malaysia, Italia for the Middle East, Lusomundo for Portugal, Independenta for Romania, Shaw for Singapore, Scene & Sound for South Korea, Beta Fiction for Spain, DCM for Switzerland, Bir Film for Turkey, and Ad Astra for Ukraine.
“Words of Love”
Cineart for Benelux, Beta for Bulgaria, Immina for Canada, Pandora for Germany and Austria, Danaos for Greece, New Cinema for Israel, Teodora for Italy, Angel Films for Scandinavia, Atalante for Spain, Frenetic for Switzerland, and Mars for Turkey.
“Visitation”
Moving Story for Australia and New Zealand, Artifilm for Benelux, Beta for Bulgaria, Karantanija for Ex-Yugoslavia, Spentzos for Greece, Lev for Israel, Cetera for Japan, Alambique for Portugal, Scanbox for Scandinavia, A Contracorriente for Spain, and Filmcoopi for Switzerland.
“Violette”
Skeye for airlines, ACME for the Baltics, Cinelibri for Bulgaria, VVS for Canada, Blue Media for China, MCF for Ex-Yugoslavia, Spentzos for Greece, Vertigo for Hungary, Lev for Israel, Lucky Red for Italy, Lusomundo for Portugal, Bad Unicorn for Romania, Scanbox for Scandinavia, Shaw for Singapore, Beta Fiction for Spain, Frenetic for Switzerland, Bir for Turkey, and Arthouse for Ukraine.
“Another Day”
MCF for Ex-Yugoslavia and Bulgaria, Spentzos for Greece, Europictures for Italy, Scanbox for Scandinavia, Shaw for Singapore, Frenetic for Switzerland, Lusomundo for Portugal, and Mars for Turkey.
World
3 Brazilian men charged after woman tossed from bridge without safety rope
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Three men face potential charges after a 21-year-old woman died when rope-jumping instructors allegedly launched her from a bridge without attaching the safety ropes meant to stop her fall, authorities said.
Maria Eduarda Rodrigues de Freitas, a 21-year-old student, died Saturday during a rope-jumping event at an abandoned bridge about 90 miles northwest of São Paulo, Brazil.
Police investigator Andrea Levy told reporters Monday that the three instructors involved in the jump acknowledged that Rodrigues de Freitas was not connected to any safety equipment before she was launched from the bridge.
“They do not remember whether they forgot to attach [the ropes], or who was supposed to do it, or who failed to check. But the fact is the ropes were not attached to her,” Levy said.
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The Ponte do Esqueleto, or “Skeleton Bridge,” is located in São Paulo, Brazil. (Google Maps)
The three instructors were arrested following the incident and could face criminal charges, The Associated Press reported.
Brazilian authorities said the three instructors were arrested on suspicion of homicide with “eventual intent,” a legal concept under Brazilian law that generally applies when a person is deemed to have accepted the risk that a death could occur. According to Brazilian outlet G1, citing investigators, the instructors were booked on the charge at the scene.
Investigators said Rodrigues de Freitas requested to be launched from the bridge “airplane style,” with two instructors lifting her above their shoulders while she stretched out her arms.
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Video shared online appears to show two helmeted men tossing the young woman from the abandoned bridge moments before the fatal fall. The instructors appear to be wearing harnesses connected to safety lines.
Authorities said Rodrigues de Freitas fell approximately 130 feet.
Bungee jumping elastic is pictured here. (Giovanni Mereghetti/Education Images/Universal Images Group via Getty Images)
Brazilian media reported that Rodrigues de Freitas had purchased a guided hiking excursion that included the rope jump from the abandoned bridge.
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Rope jumping is an extreme sport that differs from traditional bungee jumping. Instead of elastic cords that create a vertical bounce, rope jumping uses low-stretch climbing ropes designed to transform a fall into a pendulum-like swing.
The City of Limeira identified Rodrigues de Freitas as a resident of Jandira and issued a statement expressing condolences to her family.
“At this moment of pain, the City of Limeira stands in solidarity with the young woman’s family, friends and loved ones,” municipal officials said in a statement Saturday.
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The city said it would cooperate with authorities investigating the incident.
Rodrigues de Freitas was buried Sunday.
Local police are investigating the incident as a homicide. (Facebook/@Comsoc Limeira)
Levy told Brazilian television program “Jornal Nacional” that investigators were examining whether the group conducting the jump was authorized to operate at the site. According to G1, Levy said investigators believe a failure to verify the placement of the safety rope contributed to the fatality.
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In a statement cited by G1, attorneys for the three instructors said their clients had experience conducting the activity and that the incident was the first fatality during their years of operation.
Authorities continue to investigate the circumstances surrounding the apparent safety failure, including who was responsible for ensuring participants were properly secured before jumping.
The Associated Press contributed to this report.
World
Israel seizes power over occupied West Bank mosque from Palestinians
Hebron’s mayor warns unilateral changes breach agreements, posing significant consequences for the region’s stability.
Published On 16 Jun 2026
Israel has seized planning and construction powers at the Ibrahimi Mosque in the occupied West Bank from Palestinian authorities, scrapping parts of an agreement in place since the 1990s, Finance Minister Bezalel Smotrich said on Tuesday.
Under the 1997 Hebron Agreement, Palestinians controlled planning and construction in the entire city of Hebron, including the Jewish Tomb of the Patriarchs and the adjoining Ibrahimi Mosque.
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“Yesterday we cancelled the Hebron agreements,” Smotrich said at an inauguration ceremony for the Doran settlement in the southern Mount Hebron area.
While the decision was made on Monday night by Israel’s Higher Planning Council, Israel’s Foreign Ministry said in a tweet that “contrary to the finance minister’s statements, the Hebron Agreement was not canceled”.
It added that a cabinet decision made months ago had addressed planning and construction authority in the Jewish settlement and at Jewish heritage sites only, citing what it called a complete lack of cooperation from the Hebron municipality.
“Beyond that, no change has occurred,” it said.
The Palestinian Authority, meanwhile, condemned Smotrich’s announcement as unlawful.
“Such unilateral measures are unacceptable and constitute a violation of the agreements signed by the Israeli side, as well as international law,” the office of President Mahmoud Abbas said in a statement, calling on the international community and the United States in particular to intervene immediately to stop “this most dangerous step”.
Hebron Mayor Yusuf al-Jabari said the agreements constitute “a political framework governing Hebron’s administrative, security and service arrangements”, and that any unilateral modification outside existing international understandings amounted to “a serious breach” with far-reaching consequences.
The Hebron Agreement, signed by Prime Minister Benjamin Netanyahu and former PLO chairman Yasser Arafat, divided the city into two sectors.
Israel retained security control over H2,which includes the Jewish settlement and the Ibrahimi Mosque, also known as the Cave of the Patriarchs, while civil powers, including planning and construction, remained with the Palestinian municipality.
The mosque has long been a focal point for settlers, who took control of half the site following the original protocol. In 2017, Palestine inscribed Hebron’s Old City and the Ibrahimi Mosque on the World Heritage and World Heritage in Danger lists maintained by the United Nations Educational, Scientific and Cultural Organization (UNESCO).
“After the government promised victory and failed on all fronts, Smotrich the pyromaniac is trying to set the West Bank on fire,” said Israeli peace group Peace Now, adding that the move was politically motivated.
“This is a dangerous and irresponsible step of a failed politician who is ready to harm Israel’s interests and security in order to gather a few votes from the extreme right,” it said.
Palestinians say the move is the latest in a series of steps towards Israel’s de facto annexation of the West Bank.
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