Collaborazione per l’innovazione: a Göteborg i professionisti riflettono sulla sostenibilità della fiction televisiva europea

The 2025 Göteborg Film Festival’s TV Drama Vision (28-29 January) has addressed an ambitious question during one of its panels: how can we sustainably ignite creativity, quality and hope in the European drama landscape? Johanna Koljonen, media analyst, author of the Nostradamus report and this panel’s moderator, set the stage by framing sustainability as more than an ecological concern. She explained that sustainability must encompass durable business models, long-term audience engagement, and an environment where creators thrive without succumbing to burnout. Panellists, each bringing unique perspectives from their work, talked about navigating these challenges and also highlighted the immense pressure on the industry and its potential to adapt.

Kjartan Thordarson, co-owner of Sagafilm Iceland and CEO of Sagafilm Nordic, reflected on the cyclicality of the industry. Despite the current downturn, Thordarson suggested that challenges can serve as opportunities for companies with the right expertise and strategy. By preparing thoroughly, aligning projects with broadcaster needs, and fostering collaborations early, producers can weather market shifts. However, he acknowledged that an oversaturated market with too many producers often leads to fierce competition, forcing companies to innovate or pivot to emerging platforms like TikTok and YouTube.

Joanna Szymanska, producer and CEO of SHIPsBOY from Poland, focused on collaboration as a key to long-term sustainability. Emphasising the value of sharing data, she encouraged broadcasters and streamers to empower producers with insights that enable them to create relevant, audience-driven stories. While acknowledging the constraints faced by independent producers, she highlighted the importance of creativity rooted in personal inspiration rather than following industry formulas. For Szymanska, investing in visionary talent for the long term—not just individual projects—could reshape the way companies approach production sustainability.

Morad Koufane, director of International/Young Adult Drama at France Télévisions, offered a broadcaster’s perspective. He acknowledged the ongoing financial and market pressures affecting public broadcasters and streamers alike but pointed out an overwhelming number of project submissions. With European broadcasters constrained by limited resources, Koufane stressed the importance of producers finding meaningful partnerships and submitting well-prepared projects that resonate internationally. For France Télévisions, the ideal project is often an “organic international thriller” with wide appeal across European audiences, especially when inspired by real events like the latest project the company is involved in, titled Kabul. This shift toward specificity highlights the delicate balance broadcasters face in maintaining both local relevance and broader collaboration.

The panellists also grappled with the “paradox of hope” within the industry. Koljonen referenced last year’s discussions about the bubble bursting in streaming and the ensuing relief at the chance to refocus on more grounded, meaningful content. This year, the challenges remain but are accompanied by an encouraging shift. While there are fewer commissions available, audiences continue to hunger for compelling stories across traditional and emerging platforms. Szymanska viewed this as an extraordinary opportunity for storytellers, but one that requires out-of-the-box thinking and a departure from rigid market constraints.

Thordarson echoed the need to adapt, urging producers to align their skills with new platforms and audience habits. In his view, economic downturns historically allow experienced companies to excel by emphasising preparation and strategic collaboration. These cycles also force the industry to reevaluate priorities, such as focusing on fewer but better-supported projects, a move that many believe could yield better creative outcomes.

A recurring theme throughout the conversation was the need for systemic change in financing models. Szymanska strongly advocated for shifting support from project-based funding to long-term investments in talent. Without this change, companies face short-termism, which undermines creativity and sustainability. She argued for policies that nurture slates of stories rather than isolated productions, allowing producers and creatives to strategise and navigate market volatility more effectively.

Koufane highlighted the contrasting approaches of public broadcasters and streamers. Streamers focus increasingly on retention-driven, mainstream content, while broadcasters like France Télévisions prioritise distinctive, culturally rooted programming that resonates with European audiences. The key, he noted, lies in partnerships that bridge these diverging priorities and leverage both parties’ strengths.

Koljonen closed the panel with a provocative question: if commissions remain scarce and the industry shifts, how can producers and companies stay afloat? For some, diversification into alternative platforms or formats may become a necessity. For others, however, these changes signal the need to prioritise fewer projects with deeper impact and stronger foundations.

The discussion underscored the fragility of the European television ecosystem but also celebrated its resilience and capacity for reinvention. By embracing collaboration, long-term thinking, and creativity, the industry has the tools to chart a more sustainable and inspiring future.