Programming Profile

Helge Köhnen, head of content sales at Bavaria Media, talks through some recent distribution deals the German company has agreed, explores trends in the market and offers a glimpse of his slate that was unveiled at Mipcom last week.

What can you tell us about Bavaria Media’s recent deal with Constantin Film?
Throughout its illustrious history, Constantin Film has consistently maintained a reputation for delivering top-tier quality in both theatrical and serial productions. We are excited to announce that we have signed a contract encompassing three captivating and distinct fictional show formats. This agreement marks an exciting opportunity for us to proudly represent these projects on the global stage.

All three shows are sure to win interest from a global audience. Inside a Family (6×45′) shines with its engaging storyline exploring a family’s concealed secrets and telling the journey of resilience and understanding. The exceptional quality of the production made it a highlight at Mipcom. Dead End (12×45′) blends tension, humor and relatability, resonating with women globally. The third title, All for One, One for All (1×90′), goes beyond surface-level humour, delving into profound emotional layers. We were proud to present these programmes to our international buyers at Mipcom earlier this month.

How is the market for YA/teen content changing and what is on your slate for this demographic?
It’s no longer sufficient simply to broadcast programmes for the young audience exclusively on free-to-air TV. Additional footage or even airing of full episodes on social media and various platforms where young audiences engage themselves (such as TikTok) is now necessary. Additionally, it’s advantageous for teenagers if the episodes are not too long. Our miniseries Meme Girls (6×25’) addresses precisely this spectrum of the young audience’s social media involvement in an entertaining and humorous way. The series had its premiere on the streaming platform RTL+ in Germany.

Given the current economic climate, how is demand for feelgood content changing?
Feelgood content was in particularly high demand during the pandemic. The demand remains strong, even though we are also now witnessing increasing interest from buyers in edgier content.

How is content from Germany’s public sector working on the international market?
Productions created for and commissioned by Germany’s public service television channels continue to uphold high production values. They are well-known for this quality among linear broadcasters in Europe. To provide just a few examples of internationally successful long-running TV hits from Germany that air on European screens: telenovela Storm of Love (picked up by ORF in Austria, Rete 4 in Italy and MTV in Finland, among others), Zoo Doctor Mertens (acquired by Romance TV in Poland), Young Doctors (picked up by Latvian TV) and also movie collections in a romantic and feelgood style, such as Dr Dog (licensed to SRF in Switzerland). Our current slate also includes new spin-offs for movie collections from the public sector, such as Law & No Order (2×90’ TBC) and Inspector Wannabe (2×90’ TBC).

How do you explain the ongoing demand for crime programming?
Crime, similar to feelgood content, is also a form of escapism, just in a different direction. Crime dramas are often much further removed from everyday life than, for example, a regular drama series. They are often packed with action scenes, whodunit plots and provide a unique form of entertainment, which is always in high demand.

What can you tell us about your recent deal with Picture Tree International?
This is a sales-driven strategic cooperation. It will infuse a growing portfolio of Picture Tree International’s feature film library into the programming offer of Bavaria Media for European territories, while Picture Tree International will expand its sales operations with Bavaria Media’s scripted television programmes for territories outside of Europe.

The aim of this partnership is to grow strategic synergies in terms of sales outreach as well as market presence by gradually combining each partner’s respective expertise and content. Mipcom was the first market to introduce the cooperation to clients that is to be continued on selected key film and TV markets in future.

As a result, we are expanding our line-up and enriching our content for clients. Currently, we already offer nine exciting theatrical films from the Picture Tree International library, and we’re thrilled to share more. Further info about Bavaria Media’s line-up of feature films in co-operation with Picture Tree International can be found here.

How is demand from TV channels and streamers for movies changing?
In the context of TV channels and streamers, the demand for movies is evolving in distinct ways. For TV channels, standalone movies are facing challenges in terms of demand. Movie collections with a horizontal storyline revolving around the main characters, while offering a self-contained plot in each episode, are now preferred. Furthermore, there’s a preference for acquiring content such as feature films or TV event movies that provide exceptionally high production value and popular casts.

In order to cater to the audience’s desire to avoid binge-watching and instead consume something self-contained in a short span of time, streamers are also seeking movies. When acquiring movies, streamers pay attention to factors such as the cast and intellectual property, and are increasingly focused on thematic elements, i.e. on content that can be easily categorised within specific popular and trending themes. For example, movies about strong women, diversity or historical topics that are usually in high demand.

How is the growth of AVoD/FAST changing your distribution strategy?
We are currently exploring cooperation opportunities with FAST channel providers in the German-speaking territories by offering library content. We have successfully closed initial deals for our Classics Portfolio, like the cult series Auf Achse, which aired from 1978 to 1996 and now runs on Pluto TV.

What shows do you have in development for 2024?
One part of our business is to co-finance projects from the early stages. Given this, our acquisition line-up for 2024 already boasts a number of projects. One is a movie produced by Odeon Film, based on the autobiography of former GDR figure skater Katarina Witt, who has won two Olympic gold medals, four World Championships and numerous other competitions. The story focuses on her comeback in the mid-1990s as she sought Olympic glory under her demanding East German coach, navigating personal struggles and societal change amid the 1994 Lillehammer Olympics.

Can you tell us about some recent programme sales that your company has made?
Our most recent sales include our young and diverse online series All You Need (11×30’) being sold to Filmin in Spain, YLE in Finland, Canal+ in France and to multi-territory platform Out TV. The biopic Becoming Alice (2×90’), which is about Europe’s most controversial feminist activist, Alice Schwarzer, has been sold to Netflix in Germany, RUV in Iceland and RTV in Slovenia. Meanwhile, our event movie The Heart of Cape Town (1×105’), which is based on true events and tells the story of the first heart transplant, has been sold to Mediaset in Italy, among others.