Federation Studios’ new senior VP of international sales and coproductions, Chloé Horgues, discusses her role since joining the company and its strategy in the kids and family space.
Chloé Horgues
Tell us about your role at Federation Studios and how it fits into the kids and family business.
After spending nine years at Newen Connect (TF1 Group) handling international sales across all genres, I recently joined Federation Studios as senior VP of international sales and coproductions. In this role, I focus on building strategic partnerships and securing international pre-financing with broadcasters and platforms in German-speaking Europe and Scandinavia. My goal is to help bring ambitious projects to life by supporting our producers and simultaneously bringing quality shows to our partners. The collaboration between production and distribution is key, so I work closely with the production teams to ensure that each project reaches the international potential it deserves.
What is the company’s distribution and coproduction strategy for kids and family?
Federation Kids and Family focuses on coproducing and distributing high-quality animated and live-action series. Cottonwood Media, along with GO-N Productions (our key prodcos and part of Federation’s group of businesses) create ambitious programming specifically for the kids and youth audience. So our offerings include live-action series such as Find Me in Paris, Spellbound, Theodosia and soon the highly anticipated The Lady Grace Mysteries. Most of our programmes are shot in English and are coproduced with ZDF/ZDF Studios and other major broadcasters. From GO-N Productions, who specialise in preschool IP-based hits, we also have Simon Super Rabbit and more. Our distribution strategy is to cherry pick the shows that we feel our clients are looking for and are perfect for their audience.
How essential is coproduction to the kids and family content industry?
Coproduction has become critical in the kids and family strategy, as it has in other genres. As the market becomes more competitive and fragmented, with reduced budgets and rising production costs, coproduction is no longer a ‘nice-to-have’ for producers, it’s a financial necessity. It enables producers to secure financing, therefore bringing to life ambitious projects while positioning their content in both domestic and international markets. Ambitious, big projects are precisely what broadcasters and platforms are seeking today to stand out in a competitive landscape.
Preschool hit Simon Super Rabbit
What shows are on Federation Kids and Family’s current distribution slate?
At the Mifa at the Annecy International Animation Festival, following the international success of our premium live-action content, we’re thrilled to unveil The Lady Grace Mysteries (10×30’) – a brand-new live-action series coproduced by Cottonwood Media and Coolabi Group Productions in coproduction with ZDF Studios. The series is commissioned by BBC Children’s and Education and ZDF, with pre-sale to France Televisions. We’re also excited to present 20 Dance Street (26×30’), a vibrant 3D animated series inspired by a popular book collection for kids aged 8–12, set in the dynamic world of competitive ballet. These new titles further reinforce Cottonwood Media’s reputation as a leading producer of high-quality, globally appealing content for children and teens. In addition, we’re expanding the international footprint of Gangnam Project with season two. Our current slate also includes a wide range of animated hits such as Monster Shaker, the fifth season of Simon Super Rabbit, and more – all reflecting our commitment to diverse, engaging storytelling with strong international resonance.
What are the biggest challenges facing the business at the moment?
One of the key challenges we face today is a paradox: while channels and platforms are striving to retain their young audiences – particularly preschoolers during their formative years – they are simultaneously reducing budgets and downsizing teams. Meanwhile, young viewers are increasingly gravitating towards platforms like TikTok and YouTube, and without sufficient investment in kids’ content, it’s becoming harder to compete for their attention. The market is also more competitive than ever. With the increase of financial pressure, many buyers are now looking for shows that can promote themselves – particularly well-established IPs or strong brands that require minimal marketing support. This trend is especially pronounced in the kids and family space, where trust and familiarity are key drivers of viewership. This makes the landscape significantly more challenging for original properties.
Live-action series Theodosia
Where do you see the biggest opportunities in the distribution sector?
Today’s greatest opportunities lie in adapting content to evolving consumption habits and ensuring accessibility across multiple platforms and devices. It’s crucial to think beyond traditional linear or SVoD models and position content on emerging platforms like digital, FVoD, AVoD and FAST services. While AVoD and FAST channels often operate with smaller budgets than premium platforms, they are growing steadily and offer valuable opportunities to reach wider audiences and enter new territories. These platforms also open the door for strategic windowing, allowing older series to be monetised more effectively and generating additional revenues. In terms of content trends, there’s increasing demand for programming aimed at under-served age groups – particularly upper preschoolers and tweens. Buyers are actively seeking animated adventure-comedy series, as well as live-action and young-adult content, as platforms work to attract and retain younger viewers.
How is the economic crisis impacting the company’s distribution efforts and strategy?
Our core strategy has always centred around maintaining close, proactive relationships with our clients – and that approach has become even more crucial in the current economic climate. The ongoing crisis has only reinforced our belief in the importance of regular, transparent communication and being attuned to our partners’ evolving needs. Rather than scaling back, we’ve intensified our efforts: increasing the frequency of client visits and strengthening our presence in key markets. Staying connected and responsive allows us to better support our clients and adapt our distribution strategies.
What are the company’s core goals and ambitions for the kids and family business over the next year?
Our key ambition is to continue building on the strength of our development slate by launching new, high-quality productions. We remain committed to sourcing compelling books for adaptation and bringing well-known IPs to market – ensuring a strong mix of original ideas and recognisable brands. While we deeply value our long-standing partnerships, we’re also enthusiastic about forging new relationships and collaborating with emerging players in the ever-evolving kids and family landscape. Our focus remains on delivering standout content that resonates globally and meets the changing needs of our audience and partners alike.
