Highlighting the robustness of a rapidly changing Latin American television market, British production and distribution giant Fremantle and the Larraín brothers’ Fabula have a third season in development of the sexual violence thriller “La Jauría” and the second season of “Señorita 89”.
The move comes as Fremantle launches both its high-end scripted series and entertainment format business in Latin America, which is rapidly emerging as a key growth market for platforms and heavy independent production-distribution companies such as Fremantle.
Fremantle’s total revenue in Latin America increased 25% between 2019 and 2021, with production revenue in the region growing by almost a third over the same period, said Jens Richter, CEO of Fremantle, International .
Both series hail from Lucía Puenzo, quickly cementing himself as one of the leading showrunners of high-end drama in Latin America. The second season of “La Jauría” was co-produced by Amazon which took the rights in Latin America and Spain. It was sold to HBO Max for the United States
An immersive thriller exposing the unseen and unseemly reality behind the glamor of a 1989 Miss Mexico beauty pageant, “Señorita 89” is produced by Fabula, LA Spanish language streaming platform Pantaya, global streamer Starzplay and Fremantle, in a partnership of fertile production.
The four partners reunited on Pablo Fendrik’s long-awaited sci-fi miniseries “The Shelter” (“El Refugio”). Fremantle Mexico and Sasha Robles are also teaming up with Pantaya and Starzplay for the upcoming crime thriller “Toda la sangre.”
Fremantle has several other Latin American scripted series currently in development with co-production partners. Most would require worldwide distribution rights, Richter said. Variety.
In formats, Fremantle recently produced “Family Feud” with Canal 13 in Chile and Globo in Brazil, where it is currently airing, having recently tilted the format on Canal 13 in Paraguay.
“Got Talent” will launch later this year in the Dominican Republic, produced by East Coast Productions for Color Vision, and on Latina TV in Peru.
Brazil’s TV Rede raised on “Password”. “X-Factor” is set to premiere soon on RCN Colombia.
Several other Fremantle licensing deals in Latin America, both renewals and launches, will soon be announced on “Got Talent”, “My Name Is” and “The Price is Right”.
Powerful market forces are at work.
Fremantle initially struck a first deal with Fabula de Pablo and Juan de Dios Larraín, which kicked off with 2019’s “La Jauría,” with the goal of producing premium Latin American dramas that can travel the world, as was the case with “La Jauría.”
That goal remains, Richter said. Since 2019, however, two new trends have emerged. “Many more platforms have come to market, in Latin America. So there’s a lot more people for us, a lot more partners to play with and – and that’s something we’re seeing in other territories as well – there’s a lot more curiosity and openness in terms of stories to tell.
Supercharged by growing internet penetration, facilitated by the expansion of digital payment solutions, Latin America has become the second fastest growing streaming market in the world, added Sheila Hall Aguirre, Executive Vice President of Fremantle, content distribution and format sales, Latin America and Hispanic United States
“Latin America is looking for edgy themes: crime, edgy female empowerment and biopics,” she said.
Increasingly producing for their own global platforms, Hollywood studios pulled back from third-party sales around the world. Free-to-air channels are increasingly positioning themselves as providers of “live” entertainment.
“The entertainment format sector is mainly about the more traditional local free channels. The pandemic has proven very difficult for broadcasters, hitting advertising hard. But now it’s time to bounce back,” Richter said.
Fremantle has some of the largest proven formats in the world.
During the pandemic, Fremantle was also able to advise clients on how productions were still being made in other parts of the world. “Advice was key,” she said.