Spanish Producers Target Global Markets with Multiplatform IP at Mipcom 2026

Approximately 50 Spanish firms and institutions will gather at Mipcom 2026 under the Audiovisual from Spain banner, organized by ICEX Spain Trade & Investment. Running from Oct. 12-15, the delegation will showcase its Riviera 7 stand, located at R7.J11, alongside a dedicated zone in the MIP Creative Hub focused on financing, co-productions, and global partnerships.

According to the collective presence, the Spanish audiovisual sector is increasingly prioritizing multiplatform intellectual property, formats ready for adaptation, producers retaining control of distribution rights, and expanding international production services.

Filmax is highlighting its adaptation of “Superthings: The Movie,” which brings a popular toy and TV animation franchise to theaters on Oct. 23. The company’s head of international, Iván Díaz, noted ongoing negotiations to expand the global reach of its scripted catalog, specifically targeting markets seeking remake opportunities. Recent successes in this area include “The Red Band Society,” “I Know Who You Are,” and “Welcome to the Family,” the latter recently adapted by Netflix in Mexico. Additionally, Cesc Gay’s “Sentimental” has inspired multiple international versions, including Olivia Wilde’s U.S. release “The Invite.”

Onza Distribution’s head of sales, Erika Gómez, echoed the demand for proven formats, pointing to 7yAcción’s “El Hormiguero” (“The Anthill”). As Spain’s highest-rated entertainment program, it is entering its second Romanian season after adaptations in Italy, Argentina, Brazil, Mexico, and Portugal. Onza is also pitching “El Desafío” (“The Celeb Challenge”) for international distribution.

Secuoya Studios is presenting three major series: the thriller-romance “El laberinto de las mariposas” (“The Butterfly Labyrinth”) starring Can Yaman, the psychological thriller “El homenaje” (“The Tribute”) with Elsa Pataky, and “Terra Alta” featuring Miguel Bernardeau. Andrés Zamora, Secuoya’s director of global sales and distribution, emphasized that securing distribution rights is critical for financing and must be actively defended in negotiations with broadcasters and streaming platforms rather than assumed.

In the children’s sector, Krakatoa is promoting “Bumpy, the Bear,” a preschool property developed across digital, television, and music channels with plans for licensing and toys. CEO Víctor M. López noted that buyers now seek properties capable of connecting with audiences across multiple outlets, not just those with strong narratives or animation quality.

Industry leaders such as Iñaki Orive of Brands & Rights 360 and Ylka Tapia of Puro Studio stress that success now depends on integrating YouTube, streaming, social media, and linear TV into complementary strategies rather than treating them as separate choices.

For factual distributors like Ártico Distribution, the multiplatform approach offers additional revenue streams through FAST and AVOD services. Their slate includes the documentary “Leo XIV: The Man Behind the Pope,” which topped Prime Video Spain’s rankings during the Pope’s June visit, alongside titles such as “African Chronicles” and “The Last Traces of the Neanderthal.” CEO Carlos Sevillano highlighted the growing need for evergreen content that performs across various territories and platforms.

Deep Com Roots is reporting increased international sales for projects like the western “Trinidad” and “Días de agosto” (“Summer Days”), which have secured deals in Latin America, Asia, and Europe. Head of international sales Emir Duzel attributed this to a demand for content with clear premises and recognizable visual identities.

Beyond content sales, Spain is positioning itself as a competitive production base. Companies like Echo Post House, RCAudio, and Imaco89 are offering localization and post-production services. The Canary Islands are attracting major international shoots, including “Day Drinker” and “Just Play Dead,” while local filmmakers like Pedro Almodóvar and Rodrigo Sorogoyen are utilizing the region for high-profile productions. However, Canary Islands Film director Natacha Mora cautioned that growth must be balanced with local infrastructure capacity to avoid overextension.

The week’s programming also includes a focus on international collaboration. On Oct. 13, GECA will present “Spanish Fiction 2026: Between New Stories and New Seasons” at the MIP Creative Hub. This will be followed by a Canada-Spain matchmaking session on Oct. 14, facilitated by a new audiovisual co-production treaty signed at the Toronto International Film Festival. The agreement replaces a 1985 framework and allows third-country producers to participate in film and television co-productions.