The incentive is aimed at productions, co-productions, and audiovisual production and post-production services, covering feature films, series, advertising, and other formats, with no cap per project.

The Uruguayan Film and Audiovisual Agency (ACAU) and Uruguay Audiovisual have unveiled Tax Credit Uruguay Audiovisual, a new tax incentive designed to expand financing opportunities and attract international productions and co-productions to the country.

The scheme offers a tax credit equivalent to 30% of eligible expenses incurred in Uruguay. It covers international audiovisual productions, co-productions and post-production services, as well as domestic feature films, including series, television projects, advertising and other audiovisual content.

Among its main features, the incentive has no cap per project and provides transferable tax credit certificates valid for 36 months. To qualify, projects must meet a minimum eligible expenditure threshold of 1.2 million indexed units (UI).

The new incentive includes several support categories, with an initial phase focused on international non-advertising production services and advertising productions. Its implementation aims to expand financing alternatives for companies choosing Uruguay as a base for their projects.

The initiative builds on the country’s competitive advantages for the audiovisual industry, including political, economic and legal stability, infrastructure and connectivity, a skilled workforce, and a diverse range of locations within short distances. Uruguay also has an established audiovisual ecosystem, with experience in domestic and international productions and public policies aimed at developing the sector.

The new tax credit complements other benefits available to the industry, such as the 0% VAT regime for audiovisual production services provided to international clients and existing cash rebate schemes, with the aim of offering greater predictability and competitiveness to companies interested in producing in the country.

A Highly Competitive Region

With a 30% rate, Uruguay ranks among the South American countries offering the most competitive audiovisual incentives, amid growing regional competition to attract investment and international productions.

In Colombia, one of the region’s leading markets, the Audiovisual Investment Certificate (CINA) offers a tax benefit equivalent to 35% of eligible expenditure on audiovisual and logistical services incurred in the country, through transferable tax certificates. However, the program has an overall funding allocation determined annually.

Chile, meanwhile, offers the High-Impact Audiovisual Investment Support Program (IFI Audiovisual), which provides rebates of up to 30% of eligible expenses and can reach 40% for productions carried out outside the Santiago Metropolitan Region. The scheme operates through application rounds with allocated budgets.

In Brazil, where different incentive mechanisms are available at the state and municipal levels, São Paulo offers a cash rebate program ranging from 20% to 30% for international audiovisual productions, subject to investment requirements and the availability of funds.

Compared with these schemes, one of the main features of Uruguay’s new incentive is the absence of a cap per project, which could help attract larger-scale productions, although the framework allows for annual limits on the total amount of benefits granted.

With this new measure, Uruguay aims to strengthen its ability to attract investment, expand employment opportunities for the local audiovisual industry and consolidate its position as an international production destination.

La entrada Uruguay Introduces Tax Credit of Up to 30% for International Productions se publicó primero en TTV News.

The drama has already premiered with great success in Chile and Argentina, as well as major European markets such as Spain and Italy.

Leading Turkish distributor Inter Medya has announced a new licensing agreement for the drama series Deception in Uruguay. This deal further solidifies the series’ status as one of the top-performing Turkish titles, following its success across multiple continents.

Previously, Deception has achieved significant ratings in Chile and Argentina, where it consistently outperformed its timeslot competitors.

This success is not limited to Latin America. The series has already secured prime positions in major European markets, including Spain and Italy, demonstrating a rare cross-cultural appeal that translates into high viewer retention for broadcasters.

Produced by TIMSBI Productions, the series is headlined by acclaimed actress Vahide Perçin. Unlike traditional melodramas, Deception offers a sophisticated blend of family and love triangles. It follows Güzide Yenersoy, a high-ranking family court judge whose professional commitment to justice is put to the test when her own family’s secrets are exposed.

Inter Medya will be attending the LA Screenings, where they will be exhibiting in Suite 389.

La entrada Inter Medya Expands Latin American Footprint with Deception Licensing Deal in Uruguay se publicó primero en TTV News.

After beginning filming in Argentina, the project has now moved to Uruguay to continue its development, marking the first of several productions that K&S Films plans to produce in the country.

Announced in mid-2025, Netflix continues production on one of its most ambitious projects in Latin America: the original series El futuro es nuestro, which brings together a talented team from the region, both in front of and behind the camera.

It is an eight-episode dystopian miniseries based on the novel The World Jones Made by renowned American writer Philip K. Dick, and is the first audiovisual adaptation of one of the author’s works in Spanish.

With director and screenwriter Mateo Gil (Pedro Páramo, The Favorites of Midas) as showrunner, the series is directed by Brazilian directors Vicente Amorim (Senna) and Daniel Rezende (The Son of a Thousand Men), and Argentinian director Jesús Braceras (Barrabrava).

The production is handled by K&S Films (El Eternauta) and Electric Shepherd Productions (The Man in the High Castle), the production company behind the Philip K. Dick estate.

This Monday, May 4th, the Argentinian production company, represented by Diego Copello and Matías Mosteirin, was present in Montevideo, Uruguay, alongside government officials, to announce the production of part of the ambitious project in the country.

“The project began filming in Argentina, with approximately 140 days of shooting, of which we have already completed 110, leaving about 27 days to be filmed here in Uruguay,” commented Mosteirin. “It is a project of unprecedented scale in the region, both in terms of budget and logistics.” We are the producers of El Eternauta, we know how to produce complex projects, and this one is even more so. The difference is that it takes place in a dystopian future, in 2047, in a Latin America that has undergone political and economic reorganization. It’s a project that unfolds in a regional context where different countries intertwine, and Netflix is betting on a project with a regional character.”

According to the production company, filming will take place over 27 days in Uruguay between May and June, with more than 25 locations, including the Old City, Plaza Independencia -which will be the main set- as well as Peñarol, Melilla, and Parque Lecocq.

To bring El futuro es nuestro to life, some of the most renowned technicians and artists in Latin America have been assembled, including: directors of photography Adrián Teijido (Ainda Estou Aqui) and Luis Sansans (Narcos, Narcos: Mexico); production designers Carlos and Jacques (Pedro Páramo); and art director Julián Romera (El Eternauta). Producers Micky Buye, Matías Mosteirín, Diego Copello, Emiliano Torres, and Analía Castro (responsible for El Eternauta, among other Argentine productions), with Isa Dick Hackett, the author’s daughter, also serving as executive producer. And with a team of screenwriters led by Mateo Gil, including Laura Santullo, Camila Brugés Gómez (One Hundred Years of Solitude), and Kyzza Terrazas.

All of them, along with an ensemble cast of Latin American actors and actresses headed by Enzo Vogrincic (Society of the Snow), Emiliano Zurita (Nobody Saw Us Leave), Delfina Chaves (Máxima), Marleyda Soto (One Hundred Years of Solitude), and Marco Antonio Caponi (Iosi), among many others, will bring this story to life.

“The possibility of combining locations and everything Uruguay offered us convinced us to develop a critical part of the project here,” he continued. “We’ve been working on this for over a year, and it’s the first project to launch K&S’s operations in Uruguay.”

The executive revealed that after El futuro es nuestro, the production company will develop other titles in the country.

“This year we’ll be filming another project in Uruguay starting in August, and we’re developing several more for later. Why Uruguay? Because of the locations, the professional capacity… it’s a market and an industry that is an example of development and growth based on public policies.”

El futuro es nuestro is scheduled to premiere on Netflix in the second half of 2027.

Synopsis:

Year 2047. Ecological collapse has led to the creation of FedSur, a coalition of South American countries that implements extreme measures to protect nature and combat the prevailing hunger and violence.

A new and captivating voice then emerges on the internet, a voice far more powerful than any other because it is capable of predicting the future. Police officer Hugo Crussí discovers that behind the voice is a young preacher named Jonás Flores, but his arrest causes him to become the spiritual leader of the continent overnight.

Predicting the fall of FedSur and victory over climate change, Jonás will inspire the Latin American people and convince many to join his reactionary revolution. Meanwhile, Crussi, hunted as a member of the resistance, will embark on a suicide mission to eliminate the tyrant, who will have foreseen the assassination and will be waiting for him.

La entrada Netflix and K&S Films Arrive in Uruguay to Film El futuro es nuestro se publicó primero en TTV News.

The telenovelas will premiere this year in Uruguay, marking the premiere of both telenovelas in the region.

Brazilian audiovisual content remains strong in Latin America. Marking the premiere of both telenovelas in the region, Three Graces and Queen of Myself arrive in Uruguay this year through an agreement with Teledoce, one of Globo’s most long standing partners in the international market.

Currently airing in primetime in Brazil, Three Graces tells the story of Gerluce (Sophie Charlotte), her mother Lígia (Dira Paes), and her daughter Joélly (Alana Cabral), women who share the same fate: experiencing pregnancy alone during adolescence. Created and written by Aguinaldo Silva, author of major classics of Brazilian telenovelas such as Her Own Destiny and the first version of Anything Goes, in collaboration with Virgílio Silva and Zé Dassilva, the telenovela blends drama, tragedy, romance, and mystery, with touches of humor.

Meanwhile, Queen of Myself begins with the encounter between a young nanny and a lonely child to tell a sensitive story about affection, companionship, human relationships, and the many forms of motherhood. The series was created by Rosane Svartman, author of internationally successful productions such as Total Dreamer and A Life Worth Living.

“Teledoce has been a Globo partner for more than 40 years. Throughout this time, we have witnessed the connection between Uruguayan audiences and our storytelling, and we firmly believe in the potential of Three Graces and Queen of Myself to maintain positive results. These are stories led by strong female protagonists, a theme that resonates deeply with Latin American audiences. We are confident that both titles will replicate in Uruguay the success achieved in Brazil and open doors for new broadcasts in other countries,” says Marina Pontes de Miranda, Content Distribution & Partnerships at Globo.

La entrada Globo brings Three Graces and Queen of Myself to Uruguay with Teledoce se publicó primero en TTV News.

In the following interview with ttvnews, Patricia Daujotas, Content Director at Canal 10 in Montevideo, Uruguay, shares what content they would like to add to their catalog for the international market.

In an industry as dynamic as the entertainment industry, it is essential to stay one step ahead of the latest trends and understand what the international market demands in terms of content.

To this end, ttvnews presents the Buyers: What are buyers looking for? initiative to learn first-hand about the programming needs of buyers around the world.

This time, we spoke to Patricia Daujotas, Content Director at Canal 10 in Montevideo, Uruguay:

What kind of content would you say performed the best for the company in 2024? It could be based on ratings or any other factor you feel is worth highlighting.

Overall, our lineup is well-balanced, and it has been received very well by our audience. I’d highlight our news offering, which is hands-down the absolute leader in the country, and pairs super well with our entertainment slate. We’ve basically become the go-to destination for news and entertainment for the whole family.

What type of content is your audience demanding the most right now? It can be a genre or a specific type of narrative.

Our channel offers a wide mix of family-friendly content. The genres are all very different from one another, but they blend nicely to meet the needs of an audience whose interests shift depending on what’s happening locally.

What types of content, formats, or genres do you look for at industry events?

Beyond getting to know and really digging into audience behavior — so we can understand what matters most to them and figure out what we should be looking for in each market — we always attend events with our eyes wide open, keeping an eye out for the newest trends and global ideas that might surprise us and strengthen our content offering. We don’t box ourselves into any one type of search.

Where do you see the biggest growth potential for the company today, and how does that show up in your programming strategy?

For some time now, the channel has stopped being just a TV screen; it has evolved into a comprehensive digital content ecosystem. From that perspective, which encompasses not only entertainment but also news, we’ve grown exponentially on social media, YouTube, and our news website. Today, we have reached over 10,000,000 views on Canal 10’s social platforms alone, and more than 44,000,000 views across all posts on all networks, including the shows’ official accounts.

Is there any trend you’re keeping a close eye on in the market right now? (This can be content-related, tech, etc.)

Canal 10 has always been known for being a pioneer and innovator, so we stay closely tuned to content trends and tech developments.

La entrada TTV+ Buyers: What Are Buyers Looking For? se publicó primero en TTV News.

In the following interview with ttvnews, Mariano Mosca, Programming and International Development Manager at Canal 4 in Uruguay, shares what content they want to add to their catalog in the international market.

In an industry as dynamic as the entertainment industry, it is essential to stay one step ahead of the latest trends and understand what the international market demands in terms of content.

To this end, ttvnews presents the Buyers: What are buyers looking for? Initiative to learn first-hand about the programming needs of buyers around the world.

This time, we spoke to Mariano Mosca, Programming and International Development Manager at Canal 4 in Uruguay:

What kind of content would you say worked best for your company in 2025?

2025’s been a fantastic year for us. We’ve managed to solidify our leadership with the newscast — that’s one of our biggest powerhouses; the whole news block is really strong.

We also kept rolling with our hit game shows — for instance, Ahora Caigo. We’ve produced over 300 episodes for Uruguay. Plus, we developed our own IP, Maestro del Hogar, a home renovation and DIY reality show that we actually sold to TelevisaUnivision. We’re super proud of that — creating a show that clicked with local audiences and also took off internationally.

Then there are a few other projects we dropped this year that really hit. Bichos de Ciudad is a super street-level show about everyday people, following three very different characters chasing all kinds of stories.

What kind of content, formats, or genres are you looking for at industry events?

At the markets, we’re mainly looking for formats we can adapt and produce in Uruguay — but always with an international vision in mind.

So yeah, we’re mostly scouting for formats — reality shows, game shows, feel-good entertainment. We’re also open to picking up some scripted series, though that’s a smaller slice of what we do.

Are there any trends you’re keeping an eye on in the market?

Totally. There are two big ones we’re paying close attention to. First, we’re watching how broadcast TV and digital platforms are learning to coexist. It’s not one or the other anymore — they actually complement each other. We’ve seen it firsthand with our productions. Right now, we’re in full swing with Bake Off Famosos Uruguay, and it’s amazing to see how both worlds — TV and digital — feed off each other.

And second, we’re tracking how AI is being used in our industry — not as a replacement, but as a tool that really adds value.

La entrada TTV+ Buyers: What Are Buyers Looking For? se publicó primero en TTV News.

The arrival in Uruguay marks the telenovela’s first launch in another Latin American country.

As it enters its final stretch in Brazil, Anything Goes premiered this week in Uruguay, marking its first launch in another Latin American country. The telenovela debuted in the country through an agreement with Teledoce, one of the leading free-to-air channels in the region and a Globo partner for over 40 years.

On its premiere episode in Uruguay, Anything Goes led its time slot among the commercial target audience (ages 18 to 44). Storylines like Pantanal, Never Give Up, Hidden Truths, and Land of Desire have already been shown to Uruguayan audiences through the partnership between the two companies.

“We’re happy to bring this story to new audiences in Latin America. Teledoce is one of our oldest partners, which shows a genuine connection between Uruguayan viewers and our content. I’m sure they’ll embrace Anything Goes with the same enthusiasm as the Brazilian audience,” says Pablo Ghiglione, Head of International Sales & Co-Productions – Americas & APAC.

Airing in Globo’s prime time and available on Globoplay, Anything Goes has once again found success in Brazil with this new version that reimagines the original 1980s classic. The production is a hit across all screens: since its premiere, more than 143 million Brazilians have watched the show, making it the most-watched telenovela in the history of Globo’s streaming platform.

Anything Goes has also made a strong impact online, with over two million mentions on social media and the hashtag #ValeTudo topping Brazil’s trending topics for 200 hours over the course of its 100 episodes. Additionally, it is Globo’s highest-grossing primetime production in Brazil, with 16 brands featured in 76 content integrations.

As part of TV Globo’s 60th anniversary celebrations, the new version of Anything Goes revives one of the greatest classics of Brazilian television drama, originally aired in 1988 and written by Gilberto Braga, Aguinaldo Silva, and Leonor Bassères. The 2025 adaptation is written by Manuela Dias (A Mother’s Love, Justice) and directed by Paulo Silvestrini (Brazil Avenue). The story continues to resonate with audiences by exploring themes such as ethics, ambition, and honesty through the turbulent relationship between a mother and daughter with opposing worldviews.

La entrada Globo and Teledoce sign agreement and Anything Goes premieres in Uruguay se publicó primero en TTV News.

The acquisition, valued at USD 440 Million, strengthens Millicom’s presence and scale across South America.

Millicom International Cellular S.A. (“Millicom”) today announced it has entered into a definitive agreement to acquire 100% of Telefónica Móviles del Uruguay S.A. for an enterprise value of USD 440 million. This strategic acquisition aligns with Telefónica’s regional repositioning and enables Millicom to consolidate its leadership position in South America.

Millicom expects the transaction to be EFCF accretive as early as 2026, driven by operational efficiencies and integration with its existing regional footprint. Upon closing, the company anticipates immediate scale benefits, enhanced synergies, and long-term value creation across its Latin American platform.

The transaction further diversifies Millicom’s cash flow sources, reducing overall risk supported by Uruguay’s stable macroeconomic environment and investment-grade credit rating (BBB+). The deal is expected to temporarily increase Millicom’s leverage by approximately 0.1x.

The acquisition of a well-established, profitable mobile operator with nationwide coverage in Uruguay, also sees infrastructure and commercial synergies with Millicom’s existing operations in Paraguay and Bolivia.

In addition, it strengthens Millicom’s digital ecosystem, enabling enhanced bundling and service innovation; and reinforces Millicom’s mission to accelerate digital inclusion and sustainable development in Latin America.

Marcelo Benitez, CEO of Millicom, stated: “This acquisition represents a key milestone in our purposeful growth strategy across Latin America – especially in Uruguay, a country with strong fundamentals and a forward-looking digital agenda. We are committed to being a long-term partner in Uruguay’s digital development by investing in mobile infrastructure, improving service quality, and fostering innovation and talent development.”

The transaction remains subject to customary closing conditions, including regulatory approvals.

La entrada Millicom (Tigo) to Acquire Telefónica’s Operations in Uruguay se publicó primero en TTV News.