Campaign Profile

Anne Chérel, chief commercial officer at STUDIOCANAL, outlines the French company’s mission for the London TV Screenings and what new titles it will be launching to buyers there.

What key initiatives have you implemented since stepping into the CCO role six months ago?

We have strengthened the coordination and oversight of direct and international distribution, particularly TV and SVoD sales, which are at the heart of STUDIOCANAL ‘s commercial activities. Also, my presence in the US is intended to bridge the gap between the US and Europe and allows for an even more global presence, complementing the company’s team in LA and reinforcing our ties with this key geographical area, where our partners are crucial for both our films and series.

How do you see the distribution landscape evolving as we move through 2025?

The landscape is tightening in terms of outlets, but there are still real opportunities, with strong partnerships. When series are within the right spot, we find prestigious partners to release with: PARIS HAS FALLEN, sold out all over the world, has been released on Prime Video in the UK, Scandinavia and English-speaking Africa, on Hulu in the US, on ZDF in Germany and on all CANAL+ group channels in France, Poland, Eastern Europe and French-speaking Africa.

We are part of a global group with various and extended geographies, and our role as main content supplier for CANAL+ group’s entire footprint allows us to have a really broadened scale as international distributor, in a very complementary way with our wide array of broadcasters and partners worldwide.

What role do the London TV Screenings now play for your company?

It has become an essential market. It’s the perfect opportunity to showcase episodes and give an overview of our slate for the coming year to clients old and new. The London TV Screenings is very complementary to other existing markets, both geographically and in terms of format.

Being able to show both completed series and those in production, in a relaxed and immersive environment is really important for us and our partners/producers, and has proven to be appreciated by buyers.

Can you share the highlights of the shows you’ll be launching at this year’s event?

We continue to value both strong and ongoing IP and talent relationships. In addition to the recently launched FAMILIES LIKE OURS from Academy Award and BAFTA-winning Danish film director Thomas Vinterberg, another very good example of our commitment is A PROPHET, the series.

A visceral, raw and high-stakes portrayal of life in a brutal French prison where Malik, a young African immigrant, must try to survive after being incarcerated for drug smuggling. Alone and vulnerable, he meets Massoud, a powerful and shady businessman who offers him protection in exchange for Malik’s obedience. But Malik soon realises that he is just a pawn in Massoud’s game, and that the only way to survive will be to take power for himself.

Currently in post-production after shooting in Marseille and Puglia, it’s an eagerly awaited eight-part series based on the iconic BAFTA, Cannes Film Festival Grand Prix, nine César-winning, and Academy Award-nominated Jacques Audiard film. Set 15 years after the film, this reimagined gritty crime drama is a compelling tale of survival and social hierarchies, reflecting on how modern societies treat their most vulnerable.

Also continuing our collaboration with talented director Thierry Poireau (INFINITI) and Federation Entertainment, we’re very happy to present THE SENTINELS, a new action drama set during World War I… but with a twist.

Set in 1915, somewhere on the battlefield. French Private Gabriel narrowly escapes death. But while his family is told that he died, he has in fact been selected to take part in a top-secret research program designed to create a new kind of fighter. Inoculated with a mysterious serum, he is not only completely healed, but stronger and faster than a normal human being. But survival comes at a price: to see his family again, he must join the Sentinels, a secret group of elite soldiers charged with the perilous mission of ending the war.

With its ambitious production value, this action-packed series, inspired by a powerful comic, offers a fresh take on the war genre. A great project, that is both unique and perfectly fit to delight audiences around the world.

English-language THIS IS NOT A MURDER MYSTERY is a unique and visually stunning whodunit.

Young René Magritte’s life is about to change when he’s invited to participate in a private art exhibition at an opulent English estate, owned by the flamboyant Lord James. It’s 1936 and the art world is abuzz with the rise of surrealism. Fellow guests include Salvador Dali, Lee Miller, Man Ray, and Max Ernst – all artists on the brink of global fame. But after a wild night, Magritte wakes up beside the dead body of a young woman, with no memory of the previous evening. As more bodies fall and Scotland Yard arrives to lock down the estate, Magritte must uncover the truth to clear his name. Is everything what it seems, or nothing at all?

This thrilling investigation, featuring world-renowned artists presented in a fresh and original light, up against a mysterious killer whose methods seem to be inspired by their own artistic creations, will surely keep viewers on the edge of their seats. With a strong and unique tone, and providing genuine entertainment, the series has a great commercial potential, with whodunit having recently proved once again to be a very successful genre.

A BETTER PLACE is a powerful drama with a very compelling premise: what if a world without prison could exist?

In Rheinstadt, Germany, scientist Petra and progressive mayor Amir are the driving forces behind an ambitious but controversial new rehabilitation programme named Trust, which aims to close the local correctional facility and reintegrate its inmates into society. But when the prisoners are released, they face prejudice and rejection everywhere they turn, clashing with those in the city who hope to see the project fail.

While the scientists and social workers involved in Trust are doing everything in their power to make the new programme a success, the victims, and their families – haunted by fear and trauma – find themselves torn between forgiveness and a desire for justice. Will this be a fresh start for Rheinstadt’s society, or will it lead to complete anarchy?

By reimagining a world without prisons, it offers a new perspective on rehabilitation and redemption. Told from the viewpoints of several complex and fascinating characters and based on real-world experiments, the series is a timely reflection on the state of social justice as our democracies strive for a better, fairer world.

A BETTER PLACE is a perfect illustration of how TV series can open new perspectives and question our societies and our own reactions, something we really strongly believe in.

What shifts are you seeing in the significance of the documentary side of your business?

The importance lies in offering unique projects or IPs, like with PROST, raising a lot of interest. Portraits of global icons from the worlds of sports, fashion, cinema, etc, with exclusive access to the individuals or archival footage, are very impactful.

Much like biopics for cinema, these can really create significant events. With the shift in consumption habits where on-demand is the norm, we are also faced with the challenge of formats: series versus one-off, 52-minute episodes versus shorter forms more suited to streaming. Our early involvement in projects, which we’ll continue to prioritise, is therefore essential.

Could you tell us about the success you’ve had with the entertainment formats you’re showcasing this year?

We already have very advanced negotiations for HIT THE MIC! and WEREWOLVES. These two formats are exceptionally modern and distinctive, each showcasing unique originality. They stand out by offering a perfect blend of entertaining and elevated stories.

How is your company adapting to changes in the US market?

For us, the key is always to work with everyone – streamers and traditional distribution partners alike. With film, we work with both studios – Sony is currently releasing PADDINGTON IN PERU, for example – and with independent distributors. WE LIVE IN TIME has recently released successfully by A24, as another example. With the same approach, we also have strong partnerships for our TV series: PARIS HAS FALLEN with Hulu, ITVX’s hit show PLAYING NICE with Britbox, FAMILIES LIKE OURS with a partner to be announced soon, to name a few…

Are you noticing increased interest from US platforms in coproducing with European partners?

It’s always the quality of the project and the existence of an audience that remains the surest way to find US coproducers. Each of the US broadcasters has specific editorial needs, and from regular discussions with them, if we have the right IPs – literary adaptations or otherwise – we have every chance of developing together. We have a number of promising discussions underway with US partners.