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Of the numerous formats impacted by budget cuts and labor shortage in the entertainment industry, animation ranks high in that rather bleak list. Yet for French production companies, distributors and sales agent who
are gathering at the Unifrance Rendez-vous in Normandy’s Le Havre, hope is still a word with 24 animated fps.
For Mediawan Kids & Family global partnerships and new business director Marie Lassalle, there’s strength in unity. “Sure, the market is pushing the entire sector to be more selective and to diversify its models (international co-productions, multiple financing sources, earlier consideration of rights and distribution channels as well as a greater focus on formats and production costs), but the answer can’t be solely economic. French creatives must continue to focus on their strengths, expertise, and the uniqueness of their universes.”
To Lassalle’s point, Mediawan brings “Witch Detectives” to the Rendez-Vous. A high-end, 26 half-hour episode 3D-series featuring three inseparable BFF trainee witches, the show is a pan-European new IP, co-produced by Method Animation (part of Mediawan Group) and Toonz Media Group with TF1, Super RTL, BBC and Rai already on board. A perfect illustration on how strong international partnerships can power ambitious projects, all the while retaining their French flavor.
For Xilam Animation, the answer to the current shifts comes from both legacy franchises (“Zig & Sharko” and “Oggy and the Cockroaches” have both sold worldwide) and strong original new IPs, such as preschool hit “Piggy Builders” and the laugh-out-loud comedy series “Submarine Jim,” headlining Xilam’s slate at the Rendez-Vous. “We’re also looking forward to launching our spin-off series ‘Chickies’ at the market,” adds Safaa Benazzouz, EVP Distribution at Xilam. “Derivated from our hit YouTube series ‘Where’s Chicky,’ which has reached reached billions of views thanks to our extensive, digital-driven distribution strategy. Today, making a digital hit requires both linear and digital exposure. But even if preschool is, to my opinion, the most competitive area, animation is ranking high in the total consumption on YouTube and streaming platforms, so there’s no shortage of demand.”
Lassalle also identifies family viewing as a very significant trend. “Content that brings children and parents together meets a genuine demand from the audience, and often has a long lifespan. At Mediawan, we therefore look for projects with multiple layers of interpretation, accessible to younger audiences while also engaging the whole family.”
While Xilam prefers still to target settled demographics (preschool, kids, YA) on both linear and non-linear programming, Benazzouz acknowledges the ongoing nostalgia trend for content from the 1980/90s that adults love to watch again, sometimes with their kids. “It does create a cross-generational viewing experience for the whole family, and this should be considered when producing animated series today.”
The “Astro Boy” reboot, arriving in 2027 on Mediawan’s catalog and produced by Method Animation, and Shibuya International along with Tezuka Productions, is a particularly representative IP in this regard. According to Lassalle, it will introduce this iconic universe to a new generation, while also appealing to parents who grew up with the character. “In our distribution catalog, ‘Ulysses 31’ also illustrates the enduring power of these worlds that continue to resonate with multiple generations.”
Beyond these well-known, solid legacy IPs, new concepts are also on the radar of both executives. “We look for concepts that are easy to identify, yet rich enough to last,” explains Lassalle. “Projects with a strong world, well-developed characters, and a compelling narrative.” The ability to make them travel easily while maintaining their unique creative vision is also key. With Madbox, Mediawan is currently developing “Pocket Champs” (a French video game IP with 72 million players) into a transmedia franchise designed to grow with its community, with a YouTube-first launch in 2027.
“Digital development and the ability to leverage IP for new uses will be crucial in the near future,” she adds. “YouTube hits like ‘Miraculous Chibi’ demonstrate the power of short formats designed for global platforms. For us, the challenge is to have a balanced catalog capable of appealing to diverse audiences, uses, and distribution models.”
The same goes for Xilam. Over the years, the company grew its production studios to cover all animation techniques from 2D hand-drawn to full CG animation capabilities. “In terms of sales, we need and want to have a strong variety of formats and techniques,” underlines Benazzouz. “Which in turn allows us to have at least one programme in each category to present for every client. High-quality production, matched with character-driven new IPs with original design and strong humour, is what makes our programming really stand out.”
Remaining agile while maintaining high editorial and production standards seems to be the answer to navigating these shifting tides. And both companies are hungry for more, as they head to the Rendez-vous, with Mipcom just around the corner. “Our integrated model, from development to production and distribution, allows us to support projects over the long term and fully realize their international potential,” concludes Lassalle. “And the recent launch of Wonderland Junior TV is a concrete example of that strategy: We are creating a free, reliable, and family-friendly destination in the U.S., which enhances the visibility of premium European content to new audiences.”
With more than 1,700 episodes, Wonderland Junior TV is not only Mediawan’s own effort. Major European partners are on board as well, including Xilam, pushing French high-end, unique animation series beyond its borders.
