The studio travelled to Miami with one of the most coveted portfolios in Latin American audiovisual production, a multi-award-winning and acclaimed work by international audiences, and is seeking new alliances and partners at the event.
The Mediapro Studio (TMS) closed 2025 as one of its most profitable and fastest-growing years, with its original productions and international co-productions earning recognition from audiences worldwide, dominating not only in terms of viewership but also in honors and awards.
The group strengthened its alliances with some of the most important players in the audiovisual industry, bringing its series to the screens of the largest digital platforms on the market and collaborating on high-end co-productions with international potential.
Far from resting on its laurels, TMS aims to continue raising the bar in this new year, with a lineup of projects already underway and ambitious goals to achieve. In the following interview with ttvnews, Javier Esteban, International Director of The Mediapro Studio, reviews the most important milestones achieved in 2025 and highlights the impressive catalog they are presenting in Miami, kicking off the annual events calendar on the right foot.
What assessment would you make of 2025 for The Mediapro Studio in terms of growth? What milestones would you highlight?
This year has been especially significant for The Mediapro Studio’s productions, both fiction and non-fiction, with titles that have stood out for their audience success and critical acclaim and awards, both in Spain and internationally.
As for milestones, in film, the success of El 47 at the Goya Awards stands out, where the film directed by Marcel Barrena won five awards, including Best Film. Also noteworthy is the box office success of Mesa de regalos in Mexico: Noe Santillán López’s comedy not only topped the charts throughout its run, but also ranks among the top 20 most-watched films in the country’s history. And in Uruguay, Perros, produced by Cimarrón, has arrived in theaters and is among the contenders for the Goya Award for Best Ibero-American Film.
On television, 2025 has been a year marked by significant premieres, such as Su majestad on Prime Video; the second season of Consuelo on ViX; the thriller El mal invisible on 3Cat and Disney+; Cometierra, an adaptation of Dolores Reyes’s book of the same name, on Prime Video; Las maldiciones on Netflix; and Yakarta on Movistar Plus+. Furthermore, this has been the year of Celeste’s international breakthrough, winning awards at Series Mania and the Italian Global Series Festival.
In the realm of non-fiction, highlights include the documentary series El minuto heroico and Perejil; the feature films Temps Mort and Mercenario; the Televisa-Univision version of the survival reality show El Conquistador; and the premieres on Televisión Española of Futuro imperfecto, Malas lenguas, and Directo al grano, all of which achieved excellent audience ratings.
Likewise, in the U.S., we are co-producers of the documentary about the life of Joan Rivers; the documentary The Jet, produced by actor Keanu Reeves and producer Fisher Stevens, about the story of Benny “The Jet” Urquidez; as well as the films The End of It, starring Gael García Bernal and Rebecca Hall, and Atrápelo quien pueda, the first project under the strategic agreement with Telemundo.
In the final markets of the year, The Mediapro Studio announced multiple agreements with international partners for its catalog. What do you think makes TMS’s fiction and formats so popular in the international market?
TMS is a highly recognized player in the international market thanks to the quality of our productions, our flexibility in adapting to the needs of our partners and clients, our global infrastructure, and, of course, the extraordinary storytelling ability of our creators.
Now, TMS is present at Content Americas, having also announced several initiatives in Latin America. What similarities do you see between the Spanish and Latin American markets in terms of content?
The interest in good stories and quality content knows no borders. We are experiencing a moment of great interest in Spanish-language fiction, and both Spain and Latin America are producing extremely high-quality content aimed at reaching audiences worldwide. In our case, the synergies between the markets are multiplying. TMS has a very strong presence in Latin America, with production offices in Argentina, Colombia, Mexico, Chile, and Uruguay, and has experienced sustained growth in recent years.
Series like Iosi, el espia arrepentido and Cometierrra on Prime Video, or Las Maldiciones on Netflix, created by Daniel Burman at Oficina Burman, have premiered globally, and most of the titles produced in Spain have made the leap to Latin America. In Spain, we are about to release Aida y Vuelta in theaters, a film based on the legendary television series produced by Globomedia, which will also premiere in theaters in the United States and in several Central American countries where the show was a huge success.
Another major announcement in the Hispanic market in recent months is the production alliance with Telemundo Studios. What can you tell us about this major union of two such production powerhouses? Any projects you can share in advance?
The agreement with Telemundo is one of the most significant milestones of 2025: a strategic alliance that unites two giants of the Spanish-language audiovisual industry to jointly develop and produce original films aimed at Hispanic audiences in the United States and international markets. The first project to emerge from this agreement is the romantic comedy Atrapelo quien pueda, whose production is already underway under the direction of Alfonso Pineda Ulloa and starring Jaime Camil, playing a widowed father who decides to return to the dating scene encouraged by his nine-year-old daughter.
In terms of scripted content, TMS arrived at Content Americas with new series such as Raza Brava, Jakarta, El Resto Bien, and Reykjavik Fusion. What potential do you see for these series in the international market?
We believe they have enormous international potential because all four series offer original stories that, although rooted in local contexts, address universal themes that are interesting to viewers worldwide. They all deal with conflicts that connect us with emotions and situations that know no borders. In Raza Brava, Hernán Caffiero uses soccer as the thread that runs through a story that delves into the complexity of human relationships and their contradictions. Diego San José also uses sports, in this case badminton, in Jakarta to address old wounds from the past; Daniel Burman in The Rest Is Fine proposes a reflection on maturity and family in a comedic tone, and Reykjavík Fusion, created by Hörður Rúnarsson and Birkir Blær Ingólfsson, is a very original Nordic-noir where crime and haute cuisine are mixed with reminiscences of series as well-known as Breaking Bad and The Bear.
What other titles will you be presenting in Miami?
In addition to the series mentioned, we will be presenting other highlights from The Mediapro Studio Distribution, such as Laponia, a new film coming to theaters in 2026, and the films Aida y Vuelta, El Talento, Mesa de Regalos, and El 47. We will also be bringing the series Celeste and El Mal Invisible; international titles like Los Cinco; and our main non-fiction formats, including classics from our portfolio such as El Conquistador, El Intermedio, Atrápame Si Puedes, Yo Sé Más Que Tú, and 400, along with new formats premiering in 2025, such as Futuro Imperfecto and El Camping, among many other titles. We also hold the sales rights for content from other companies, such as the documentary Los Williams.
What are your objectives for 2026? What are your main goals?
Our goal is to continue growing and expanding our international presence with high-quality, innovative, and original projects that connect with the public and attract the interest of clients worldwide to reach increasingly wider audiences.
