Beta’s CEE Recipe for Success
Beta Film is among the pioneers in co-producing and distributing original series across the CEE region and then successfully taking them to the international markets. Veronika Kovacova, EVP International Sales & Acquisitions at the company talks to Yako Molhov about the company’s approach to co-production and co-financing drama projects in the region, its CEE bestsellers and the latest trends on the market.
Veronika Kovacova, EVP International Sales & Acquisitions, Beta Film
Veronika, Beta Film was one of the first major companies to co-produce and distribute CEE content. Which were the first titles that you decided to pick?
Our first program from the region was the HBO miniseries Burning Bush by Agnieszka Holland. Shortly thereafter, we also distributed Wasteland, both of which performed exceptionally well. These successes paved the way for our first regional co-production in 2018, The Pleasure Principle. This project was particularly unique as it was an Apple Film production in collaboration with strong partners in three countries, which was still unusual at the time: the Czech Republic, Poland, and Ukraine.
Your company is one of the leading European independent content distributors with more than 24.000 hours of program in an extensive variety of formats and genres. What is the current size of your CEE catalog which has been noticeably growing in the past few years?
Including the Balkans, we currently have over 500 hours of content from the CEE region, consisting of series, miniseries, movies and feature films.
What is your strategy for the region, will you increase the co-producing and co-financing part of your business in CEE?
I believe our initial strategy has been effective, so we will continue with the same approach. This includes staying close to local broadcasters and partners in the region and helping them where possible to co-finance and co-produce projects.
The CEE fiction market is growing, with even big international streamers entering the stage, announcing their first original productions in the region. To what do you attribute the rapid development of the market in recent years? Do you see local and international streamers as potential partners in the region?
We have been working with local streamers in the region for years and have seen a significant increase in shows produced in partnership with both local and international streamers. For example, we have sold several programs to HBO, including I Know Your Soul, Walking with a Lion, and Children of Evil. I think you can attribute this growth to the expanding overall market that streaming services have created. The region has always had considerable talent, and now, thanks to market demand and favorable local tax incentives that reduce production costs, the CEE region can produce high-quality dramas with prominent talent and compelling stories for a global audience.
What are the latest trends on the CEE fiction market that you have observed?
In recent years, I have noticed a trend toward programs reflecting regional political and historical events. There is a growing appetite for shows that deal with relevant issues that affect all of Europe, often delving into serious topics. Soviet Jeans, for example, is set in 1979 in Soviet Latvia, behind the Iron Curtain. In contrast, I Know Your Soul by Jasmila Žbanić is set in present-day Sarajevo and deals with both the country’s past and current issues. It also explores universal themes such as family problems and bullying.
You are working with producers/creators from many territories in CEE. How do you choose which projects to support?
Of course, we strive to find shows with a strong creative package, including an excellent script and promising creatives. But I also trust my gut about whether a story will resonate with viewers. While we have long-standing partnerships with companies like Telekom Serbia, we often discover new and interesting projects outside of our established collaborations.
How many projects do you have in development and what are your latest titles coming out of CEE?
We are currently in discussions with various partners in different territories, but one of our most anticipated upcoming titles is Rise of the Raven, which is currently in post-production. It is one of the most epic European productions of all time, and I believe it will make a significant impact when it is released. Recently, we presented Operation Sabre at Canneseries, where it won the Special Interpretation Award. It is based on the true events of the assassination of the Serbian Prime Minister in 2003 and is therefore highly relevant. We also added a new format to our lineup at Beta: the long-running Greek series The Beach, which currently has 144 episodes.
What have been your best-sellers?
It’s hard to pinpoint, but I would probably say The Pleasure Principle, The Silence, or Golden Boy. Given our lineup and extensive library, there are several titles that have had a significant impact over the years, both in the CEE region and beyond.
What are the biggest challenges for co-productions from your experience working with various local producers?
In my experience, the biggest challenge facing many productions today is securing financing. We always try to use our connections to bring together different partners for new projects. I believe the region could significantly increase its global impact if there was a greater willingness to co-produce across countries, partners, and borders.
Our first program from the region was the HBO miniseries Burning Bush by Agnieszka Holland. Shortly thereafter, we also distributed Wasteland, both of which performed exceptionally well. These successes paved the way for our first regional co-production in 2018, The Pleasure Principle. This project was particularly unique as it was an Apple Film production in collaboration with strong partners in three countries, which was still unusual at the time: the Czech Republic, Poland, and Ukraine.
Your company is one of the leading European independent content distributors with more than 24.000 hours of program in an extensive variety of formats and genres. What is the current size of your CEE catalog which has been noticeably growing in the past few years?
Including the Balkans, we currently have over 500 hours of content from the CEE region, consisting of series, miniseries, movies and feature films.
What is your strategy for the region, will you increase the co-producing and co-financing part of your business in CEE?
I believe our initial strategy has been effective, so we will continue with the same approach. This includes staying close to local broadcasters and partners in the region and helping them where possible to co-finance and co-produce projects.
Soviet Jeans
The CEE fiction market is growing, with even big international streamers entering the stage, announcing their first original productions in the region. To what do you attribute the rapid development of the market in recent years? Do you see local and international streamers as potential partners in the region?
We have been working with local streamers in the region for years and have seen a significant increase in shows produced in partnership with both local and international streamers. For example, we have sold several programs to HBO, including I Know Your Soul, Walking with a Lion, and Children of Evil. I think you can attribute this growth to the expanding overall market that streaming services have created. The region has always had considerable talent, and now, thanks to market demand and favorable local tax incentives that reduce production costs, the CEE region can produce high-quality dramas with prominent talent and compelling stories for a global audience.
What are the latest trends on the CEE fiction market that you have observed?
In recent years, I have noticed a trend toward programs reflecting regional political and historical events. There is a growing appetite for shows that deal with relevant issues that affect all of Europe, often delving into serious topics. Soviet Jeans, for example, is set in 1979 in Soviet Latvia, behind the Iron Curtain. In contrast, I Know Your Soul by Jasmila Žbanić is set in present-day Sarajevo and deals with both the country’s past and current issues. It also explores universal themes such as family problems and bullying.
Operation Sabre
You are working with producers/creators from many territories in CEE. How do you choose which projects to support?
Of course, we strive to find shows with a strong creative package, including an excellent script and promising creatives. But I also trust my gut about whether a story will resonate with viewers. While we have long-standing partnerships with companies like Telekom Serbia, we often discover new and interesting projects outside of our established collaborations.
How many projects do you have in development and what are your latest titles coming out of CEE?
We are currently in discussions with various partners in different territories, but one of our most anticipated upcoming titles is Rise of the Raven, which is currently in post-production. It is one of the most epic European productions of all time, and I believe it will make a significant impact when it is released. Recently, we presented Operation Sabre at Canneseries, where it won the Special Interpretation Award. It is based on the true events of the assassination of the Serbian Prime Minister in 2003 and is therefore highly relevant. We also added a new format to our lineup at Beta: the long-running Greek series The Beach, which currently has 144 episodes.
What have been your best-sellers?
It’s hard to pinpoint, but I would probably say The Pleasure Principle, The Silence, or Golden Boy. Given our lineup and extensive library, there are several titles that have had a significant impact over the years, both in the CEE region and beyond.
Rise of the Raven
What are the biggest challenges for co-productions from your experience working with various local producers?
In my experience, the biggest challenge facing many productions today is securing financing. We always try to use our connections to bring together different partners for new projects. I believe the region could significantly increase its global impact if there was a greater willingness to co-produce across countries, partners, and borders.
