eNews
SERIESMAKERS reveals all ten projects of the second edition
Mumbai: The creative initiative SERIESMAKERS, led by the prestigious TV festival Series Mania and supported by European content powerhouse Beta Group, has concluded its second edition with overwhelming success.
A-list filmmakers from all corners of the world applied to participate in the second year of this tailor-made program for feature film directors who venture into the world of series.
For the second edition of SERIESMAKERS, the following ten projects have been selected (in alphabetical order):
BREACH by director Mijke de Jong, and writers Giancarlo Sanchez and Jan Eilander (4×50’, The Netherlands) When the unapproachable helmswoman Tisa (35) is tasked with ferrying a crowded boat of wealthy Dutch refugees to Dover, she is confronted with deep-seated traumas from her own past as a refugee, and her authority as captain is challenged by the Europeans who suddenly find themselves in a dependent position. The toxic mix of conflicting interests and mortal fear leads to war on board. Can Tisa and the passengers overcome their demons and complete the journey safely? Mijke de Jong’s LAYLA. M (2016) won several prizes at international film festivals and was the Dutch entry for the Oscars in 2018.
DOCTOR’S OATH by director Mikko Myllylahti and producers Aleksi Hyvärinen and Taneli Mustonen (4×52’, Finland) Based on a true story, DOCTOR’S OATH is a highly realistic and suspenseful story of a side-tracked female dermatologist who became the face of Finland’s unlikely decision to choose an extremely soft approach towards the AIDS epidemic.
Mikko Myllylahti’s THE WOODCUTTER STORY (2022) won the Gan Foundation Award for Distribution and was nominated for the Critics’ Week Grand Prize at the Cannes Film Festival.
ELEPHANT with director-writer Hajni Kis and by creator-writer Dávid Csicskár (7×40’, Hungary) Anna (46) is the perfect mother of three, a fantastic wife and a highly skilled political spokesperson. She has a “little” flaw though – she needs to drink to do it all. Anna is a functioning alcoholic who gets through the day with concealed shots. One night, she causes a car accident that nearly kills her family, by drunk driving. She realizes she must quit drinking immediately. But keeping her life, family, and career on track without alcohol turns out to be unexpectedly difficult. Since her family relies on her in every way possible, Anna’s sobriety triggers chaos in the house. Can she save herself while watching everything fall apart around her or will she sacrifice herself for the sake of her perfect family? Hajni Kis’s WILD ROOTS (2021) was nominated at Karlovy Vary International Film Festival.
FREEDOM ACADEMY by director Kaouther Ben Hania and producer Nadim Cheikhrouha (8×45’, France) In the competitive world of television, a cunning producer and his optimistic wife battle for control of a daring reality TV show set in a high-security prison, hoping to capture the intense competition among incarcerated radicals all while the jury grapples with their divergent opinions on prisoners’ rehabilitation.
Kaouther Ben Hania’s Cannes Film Festival competition entry FOUR DAUGHTERS (2023) is currently nominated for an Oscar® for Best Documentary Feature Film. With THE MAN WHO SOLD HIS SKIN (2020), Ben Hania was nominated for an Oscar® for Best International Feature Film.
GEORGE BLAKE by director Kevin Macdonald and producer Femke Wolting (6×52’, United Kingdom/The Netherlands) What makes a person turn against everything they ever stood for? The untold true story of one of the most prolific double agents of not just the Cold War, but British history, George Blake. Kevin Macdonald’s THE LAST KING OF SCOTLAND (2007) won an Oscar® in the category Best Performance by an Actor in a Leading Role and multiple BAFTA’s, among others. His documentary ONE DAY IN SEPTEMBER (1999) won an Oscar® for Best Documentary Feature.
PLAY by director Yorgos Zois and producer Stelios Cotionis (8×52’, Greece) A lonely cinephile joins a mysterious group of strangers who reenact movie scenes in real life. Yorgos Zois’s second feature film ARCADIA (2024) world premiered at 2024 Berlin International Film Festival’s section Encounters. His feature INTERRUPTION (2015) was nominated at Venice Film Festival, among others, and won the Best Newcomer director from the Greek Film Academy.
SLEEPING SWANS by director Barbara Albert, writer Ulrike Tony Vahl and producer Martina Haubrich (8×52’, Germany) In a coastal town in Eastern Germany, idyll turns into a sinister nightmare when children inexplicably fall into a mysterious condition. Renowned expert Ellen Lennardsson is called in to decipher the secret. In a desperate race against time, she fights against inexplicable forces and the insurmountable resistance of the community. As the number of affected children rises unstoppably, Ellen uncovers a sinister conspiracy encompassing not only the supernatural, but also the darker side of human nature. Barbara Albert’s NORDRAND (1999) was nominated for the Golden Lion at Venice Film Festival. FREE RADICAL (2003) was nominated for the Golden Leopard at Locarno International Film Festival and MADEMOISELLE PARADIS (2017) was nominated at Toronto International Film Festival, among others.
THE SQUATTER by director Erik Matti and producer Ronald Monteverde (8×52’, The Philippines) A dead body in a rural town. A fraudulent London charity. An East-meets-West crime story. With their hopes and futures at stake, a secretive Filipino maid and a tenacious Ukrainian detective have to unravel the mysteries of a crime just as the crime itself unravels who they truly are. Erik Matti’s ON THE JOB 2: THE MISSING 8 (2021) was nominated for Best Film at Venice Film Festival and won in the category Best Actor at Venice Film Festival.
THE WILLOW SONG by writer-director Guy Myhill and writers Tony Phillips and Sophie Vaughan (8×50’, United Kingdom) A young Black American GI leaves the segregated Jim Crow South for 1940’s Britain to join the war against fascism. He grows politically, falls in love across the race line and learns firsthand that his biggest battle is not against Nazi Germany, but the pervasive brutality and bigotry of the United States Army. Guy Myhill’s credits include THE GOOB (2014). It was nominated at the Venice Film Festival and won the British Independent Film Award, among others.
WILLZ by director-writer Amir Manor and director-writer Guy Raz (10×40’, Israel) Following his friend’s unexpected layoff, an impulsive and highly persistent courier unites the rival courier tribes in the Willz food delivery syndicate to improve their working conditions. When the couriers realize they could never beat Willz by playing by the rules, they join forces, banking on their transparency and the tools at their disposal – to rob a bank. As their plan takes shape, it will become clear that the robbery comes with a cherry on top – exposing Willz’s greedy and unscrupulous ways. Amir Manor’s EPILOGUE (2012) was nominated at the Venice Film Festival (Venice Days) in the category Best Film, among others.
The eligible director/producer or director/writer teams from all over the world have been closely mentored and guided by experienced and awarded creatives while working on their series and developing a full pitch deck.
The prolific four mentors of the second edition are award-winning German producer Janine Jackowski (TONI ERDMANN, SKYLINES), Israeli writer and script doctor Ronit Weiss-Berkowitz (THE GIRL FROM OSLO, A TOUCH AWAY), the international development producer from France/Denmark Isabelle Lindberg Pechou (TROM, LAST LIGHT), and Brazilian producer, director, and showrunner Felipe Braga (SINTONIA, LOV3).
The speakers included showrunners, writers, and producers such as NARCOS creator Chris Brancato (GODFATHER OF HARLEM, PUSHING DAISIES), multiple award winner Frank Doelger (GAME OF THRONES, THE SWARM), showrunner Bryan Elsley (SKINS), Hagai Levi (THE AFFAIR, OUR BOYS, SCENES FROM A MARRIAGE, IN TREATMENT), Ron Leshem (EUPHORIA, NO MAN’S LAND), and Stefan Arndt (THE WHITE RIBBON, RUN LOLA RUN, BABYLON BERLIN, GOODBYE LENIN).
The three winning teams will be announced on March 20 in Lille during Series Mania Forum (March 19 – 21). Two teams will each be awarded a €50,000 Beta Development Award and will be working closely with Beta’s Content and Co-Production Division to develop a pilot script and a full package. An additional award of €20,000, courtesy of the Kirch Foundation in collaboration with HFF (University of Television and Film Munich), will be given to a third project.
The creative initiative SERIESMAKERS is headed by Laurence Herszberg, General Director of Series Mania, and Koby Gal Raday, Chief Content Officer of Beta Group.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
CALIFORNIA, MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
