‘Duster’ Dazzles, Nicola Coughlan Charms, Other Canneries Takeaways

CANNES — Blessed for most part by balmy weather, French TV fest Canneseries launched a new life this week, staging its first standalone edition without a parallel MipTV or Mipcom supplying a big buyer base sitting literally just yards from Canneseries screenings. 

Canneseries Artistic Director Albin Lewi argued before Canneseries that the event is not about on-site buyers but “buzz,” “the word of mouth of being in selection, even if buyers are not on-site, is very important. You don’t have to have thousands of people to have a market impact.” Moreover, “many of our industry participants also wear different hats and all the series are supported by international distributors,” he added.

In buyers’ stead, Canneseries expanded or launched Producers, Writers and Composers Clubs each made up of several dozens of professionals.  But did the formula work? 10 takeaways on a new-feel Canneseries, running April 24-29:

“Duster” Dazzles 

Certainly, the big U.S. series which made Canneseries fairly rocked with local audiences. Playing the Cannes Festival’s legendary Palais des Festivals, Max’s “Duster,” created by J.J. Abrams and LaToya Morgan, was “the best screening ever at Canneseries,” says Levi. “The audience was ecstatic. Having a J.J. Abrams series with LaToya Morgan and Josh Holloway was a dream. It’s an America that we love from the ‘70s. It’s so well made. It was a more than a big success. It was crazy. I’ve never had people so happy leaving a theater,” says Levi. French newspaper Le Parisien gave “Duster” four out of five stars for the successful re-creation of 1970s era and the show’s “pop-influenced feel, allowing it to mix fun and action while also touching on more sensitive topics, such as racism and grief.” Variety also enjoyed a spirited interview with Holloway and LaToya Morgan. 

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

It’s hard to exaggerate the resilient feeding frenzy for stars felt by international audiences and “The Walking Dead” leads are huge stars in Europe. Fan favorite Morgan, Negan in the franchise and co-lead of “The Walking Dead: Dead City” where he develops a frenemy relationship with Lauren Cohan’s Maggie, attended Canneseries with his family and left his handprints on Cannes Walk of Fame. “Dead City” was “all about Jeffrey Dean Morgan,” says Lewi. Some fanboys wanted more blood in the early episodes seen. Due to premiere May 5 on OCS in France, Season 2 was, however, hailed as “a strong returning season where stakes are raised and so is our engagement,” said France’s Teleloisirs.

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

Despite busy industry events – standouts took in masterclasses from “House of Cards” showrunner Beau Willimon and “Industry” producer Jane Tranter –  no one gathered crowds within the Palais quite as Nicola Coughlan. Lines for the “Bridgerton” star’s conversation began early and enthusiastic teenage girls filled up the ample auditorium all the way to the back, where eager fans stood for the hour-long talk to catch a glimpse of the Irish actor. In town to receive the Commitment Prize granted by French media company Konbini, Coughlan spoke at length about her activism, the period-era Netflix hit, and “Bad Mood,” which just landed her a first BAFTA nomination.

Buzz Titles

Of major French series, Canal+ and Studiocanal drew upbeat reviews for “The Corsican Line,” a gritty mafia thriller set in a spectacular Corsica described in knowing detail by creator Pierre Leccia and starring ‘Furies’ Lina El Arabi. Malin-Sarah Gozin’s “Dead End” and “Reykjavik Fusion,” headed by “Severance’s” Ólafur Darri Ólafsson, were two main competition frontrunners. Cosmopolitan France’s Melanie Bonvard gave one of her top ratings to the docuseries “Hello Stranger.” The short form YA show “N00b,” backed by WBD New Zealand – a favourite for several other French critics – was described by Bonvard as a ‘little coming-of-age jewel.” Other favorites were “Malditos,” a gypsy community action-packed crime thriller which “could turn into a French phenomenon for Max,” predicted Cosmopolitan France. Belgium’s out of competition “Holy Shit” also had its fans, principally for a knock-out turn by Belgium’s Mona Mina Leon (“1985) as a Tourette’s Syndrome sufferer dead set on becoming a school teacher. 

Norway’s Big Win at Canneseries

When Canneseries prizes were announced at the Palais des Festivals on April 29, however, Norway pretty well swept the board. “A Better Man,” from Thomas Seeberg Torjussen won best series and best performance for star Anders Baasmo while Henriette Steenstrup’s “Nepobaby” scored screenplay and a special interpretation award for its ensemble cast. In a third award for Norway, “The Agent – The Life and Lies of My Father,” from Magnus Skatvold, nabbed best documentary. Norway once rated behind Denmark and Sweden as a high-quality TV powerhouse. No more. All three winning titles had a common quality, moreover: the ability to address urgent issues but also entertain. 

Canneseries Business

But was Canneseries any good for business? It was notable how many of its top main competition titles were either picked up for international distribution in the festival run-up – “Dead End,” “A Better Man” – or still pushing out pre-sales when they hit Cannes: “Reykjavik Fusion,” sold by The Mediapro Studio Distribution. “The screening of ‘L/Over’ went really well,” says REinvent’s marketing and sales director Helene Aurø who was impressed by the sea of people surrounding star actor Krista Kosonen just outside the Grand Auditorium of the Palais des Festivals. At press time, Aurø was in intense discussions to close a few territories on the Finnish show.

Canneseries Still Needed

Though a boutique event – Variety was shocked by its ability to walk onto the Majestic Hotel terrace and immediately grab one of the best tables on it, unthinkable at the Cannes Festival, Canneseries is still a welcome continuation on the TV calendar, said distributors. “It’s great that there is still Canneseries and the organisers do a really good job in putting people together. The festival has to go on,” says Aurø who said next time she will most probably stay longer to catch the dozen broadcasters who attended the Broadcasters Conclave at Canneseries’ Industry event. “We need a spring market”, she insisted.“MipTV was a market where you could catch a lot of buyers.” 

Industry Trends: The Bands Are Getting Together Again

Canneseries also caught the international TV business in the throes of yet further sea change. Its titles underscored an increasingly attractive financing model, at least for selectively produced foreign-language shows, based on tying down partners and pre-sales among local broadcasters in Europe rather than waiting for a U.S. deal with a streamer, a challenge for shows not made in English. One case in point: Canneseries “Reykjavik Fusion,” produced by Iceland’s ACT4, former Netflix senior exec Erik Barmack’s Wild Sheep Content  and pan-European pubcaster Arte. Wild Sheep has sold over 25 projects to 12 global partners over its four years of operation. “Reykjavik Fusion” is packaged more traditionally, however, backed by Iceland’s Símmin and pre-sold to AMC Iberia and Finland’s YLE. “Scandinavian shows used to be put together with four or five broadcasters. The show is rather like the band is getting together,” said Barmack. 

The U.S. Looks to Europe

The French TV festival also unspooled as ever more illustrious U.S. players are looking to Europe. “In the teens, Netflix with Amazon were owning the world, which really eliminated any opportunities to have acquisition conversations. Now that everyone’s pulling back, suddenly there’s not only a receptivity but there’s opportunity to build those partnerships again. That’s something we’re all looking to explore,” Scott Free’s David W. Zucker told Variety at Canneseries. “I know the Spanish market. I don’t know the French market,” added Scott Free’s Sharon Hughff. “There’s a particular show that we have where it was really useful for me to meet a French producer today and just talk about that show. Honestly, it’s an education.”

The Biggest Way Forward as an Industry

The biggest industry change, however, may be in a broader bouquet of distribution options. “A key market trend is a desire for producers and networks to work toward more flexible distribution models and windowing, especially within Europe,” Barmack said last month. “It’s always great to connect, especially in times like these when you feel we need to stick together, particularly within Europe – not only to find collaborations but also to share experiences, the love for our business, and get inspired,” Amelie von Kienlin at Amusement Park Film (“MunichGames”), at Canneseries’ Producers Club, said in Cannes. “International co-productions aren’t easy to put together, since most broadcasters and streamers are looking for local content, but we’re seeing much more openness from streamers and broadcasters to collaborate within home territories, which offers opportunities.”

Deals: 10 of the Best

*With three titles at Canneseries – “The Big F*ck Up,” “How to Kill Your Sister,” “Nothing Can Erase You” – Banijay Entertainment announced on Canneseries’ eve that it is bringing back “Wallander” for a modern-day reboot starring Gustaf Skarsgård. 

*In the other biggest deal related to a Canneseries participant, a day before she spoke at Canneseries, Jane Tranter’s Bad Wolf announced a new untitled drama for Apple TV+ inspired by “Metropolis,” part of Philip Kerr’s bestseller book series “Berlin Noir.” Penned by “Wolf Hall’s” Peter Straughan, the serial killer thriller is set in a vibrant 1928 Berlin and notably weighs in as “Wallander” as an event crime series. 

*Mediawan has scored key licensing deals on Bille August’s Sam Claiflin starrer ‘The Count of Monte Cristo,” including with PBS Masterpiece (U.S.), UKTV (U.K.), TVE (Spain,) RTS (Switzerland). Closing Canneseries on April 29, the series has also been bought by all five Nordic pubcasters: SVT, NRK, DR, YLE and RUV.

*Just before Canneseries, Federation Studios swooped on one of its big buzz titles, taking international distribution rights to main competition entry “Dead End,” the latest genre-blender from Malin-Sarah Gozin (“Tabula Rasa”), whose original series “Clan” inspired “Bad Sisters.” Now Tabula Rasa could inspire an English-language remake, its producer said at Cannes.  

*SND has acquired international distribution rights to “My Wife is a Spy,” a high-concept action comedy starring Marie Gillain (“Under the Influence”) which world premiered at Canneseries.

*Wild Bunch TV has boarded Spanish crime thriller series “The Clan Olimpia” starring “Carmen and Lola” breakout Zaira Romero as housewife-turned-drug lord, as well as “Single Bells,” from De Mensen (“Undercover,” “Hotel Beau Séjour”).

* Angelina Jolie and Ellie Golding have boarded “Bee:Wild,” AN environmental doc by Rebecca and Josh Tickell, which is heading for SXSW London.

*’Skam’ producer and NRK drama boss Marianne Furevold Boland unveiled its 2025-26 lineup, which features Canneseries’ “A Better Man.”

*Canneseseries competition winner ”Nepobaby,” from “Pørni’s” Henriette Steenstrup, has inked first sales, being picked up by Be.tv for Belgium and RÚV for Iceland. 

*Null47,” a youth/YA targeting Norwegian streamer, has greenlit Season 2 of Beta Film-sold “Rebound,”a break-up trauma drama. 

*”Moominvalley” and “L/Over” producer Marika Makaroff is set for “Love Is…” under the rebranded Gutsy Pictures.