Nine international scenarios to dominate in 2022 – Deadline
Asian media giant CJ produced one of the biggest plays in the entertainment industry in 2021. CJ ENM’s acquisition of 80% of Endeavor Content’s scripted business enhanced the drama’s offering. company at nearly $ 1 billion. Attention now turns to the next steps of the mega-deal, as Parasite distributor CJ ENM takes control of a portfolio comprising Once upon a time … in Hollywood, see, The Revenant, The Night Manager, call me by your name and kill Eve, as well as the next Reminiscence and Miracle Blue. CJ ENM, which was created 12 years ago, now has a strong pipeline to Hollywood, at a time when Korean content is hotter than ever, thanks to the huge success of Squid game. How will the basic scripted output of Endeavor Content change, how much will the company be restructured, and what synergies can be drawn between the two? It hasn’t worked for Eros and STX, but will the CJ deal herald a new round of mergers and acquisitions in which international giants look to the United States for growth? These are all questions that will have to be answered in the coming year. One thing is certain: the deal eased Endeavor’s debt and signals a major global ambition for Asian power CJ. The CJ / Endeavor deal wasn’t the only 2021 headline in terms of US-international synergies. Next year will also see the establishment of the American management and production partnership of Anonymous Content based in France with the European company Federation Entertainment, as Anonymous / Federation prepares to create content for the French markets and global. This is just the latest European expansion of Anonymous (which also signed an agreement in 2021 with Israel’s leading talent agency) and a sign that US companies continue to look overseas for further exploration. their international relations. At the same time, the French company Federation created an American management company. The global flow of companies (and talent) has never been so fluid.
India’s animated streaming market gears up for a milestone year
The streaming wars in India have raged at a high intensity throughout this pandemic, which has seen a string of high profile film-related titles pivot to online release. It came as a shock to the traditionally cinematic First Nation system. The influx of international streaming services combined with an increase in the number of powerful local players has set the stage for a fiercely competitive market that continues to grow at a rate sufficient to allow all players to grow – but a cap will be. it reached in 2022? India’s population is large, and also very young, with an average age of only 29 years. Combine that with widely available high-speed internet, rising salaries, and a strong appetite for content, and it seems questionable that it could be several years in the territory before the number of subscribers starts to peak like they do. in some western countries. However, the streamers are not resting on their laurels, with clear and recent indications that the big players plan to get active in their maneuvers next year. Netflix recently made headlines when it slashed prices for its various subscription levels in India, including the popular “Standard” sub, which fell 60%. The move, which comes as other territories continue to see their prices rise, was seen as an aggressive game for subscribers, putting those numbers ahead of revenue, at least in the short term. “The billion people opportunity in India is very real… We have seen how subscriber numbers boost the psyche of Wall Street investors,” an industry source commented after the news. Also in December, the Indian branch of Sony finalized a merger deal with local rival Zee Entertainment to create the second largest network in India. The pact is seen as a direct move to compete for eyeballs online with Netflix, Amazon Prime Video, and established player Disney + Hotstar. The deal, which is subject to regulatory hurdles, includes two streaming services – ZEE5 and Sony LIV – could it signal further consolidation to follow in the coming year? Amazon, which has been the most active player in securing the rights to talent-driven films that have had to skip their movie screenings, recently landed the rights to the cricket matches that the Indian national team plays in New Zealand. -Zeeland, a key draw for the local cricket-obsessed public. On that note, the most important moment in Indian streaming next year could be the next round of betting for the popular Indian Premier League cricket tournament, with streamers in the mix the last time before Star India ( now part of Disney) does triumph. The winner of these rights could steal a march on his competitors.
Africa: the next frontier?
Keep an eye out for African content next year, which is expected to become more prominent on global streaming services. Amazon recently entered into a multi-year deal with Inkblot Studios, one of Nigeria’s leading producers with credits including box office hits. The wedding party and its sequel, to take exclusive worldwide rights on its post-cinema roster. “Nigerian stories are truly some of the most exciting and thrilling in the world,” Ayanna Lonian, director of content acquisition for Prime Video, said of the deal. The pact follows Netflix’s merger with Nigerian producer EbonyLife, which will continue to bear fruit next year. International streamers are bolstering their local rosters in Africa to compete with local players including Showmax and MyCanal, and Disney + is expected to become the next US giant to enter local markets in 2022. With VOD subscribers expected to triple across the continent in the next five years, Africa could become the next key battleground as submarines begin to level off in other more mature markets.
Saudi Arabia is coming
One could argue that Saudi Arabia was the country of international industry in 2021. While the KSA has threatened to break through since theaters reopened in 2017, 2021 was the year the country hosted its first festival. international film and several important productions in English. as big budget action shots Desert warrior and Kandahar, as well as a horror film Cello. A government body estimated that in 2017, the Saudis spent $ 30 billion on entertainment and hospitality elsewhere in the Middle East. As the number of theaters increases and events increase, a good chunk of that money should instead be spent locally. Some insiders are even predicting that the controversial state could grow into a billion dollar distribution market within the next few years. The growing number of international shoots and the star-studded Red Sea Festival (as well as a growing number of major sporting and musical events) seem to indicate that qualms about the country’s depressing human rights record will not stop the industry growth. Expect this rise to continue into 2022.
What lies ahead for China and Hollywood in 2022 is currently a murky, frustrating and yet somewhat fascinating question. Showing a strong recovery in cinemas, the PRC will be the world’s No. 1 box office market in 2021 for the second year in a row. However, he could see that status return to North America next year. China was mercurial in 2021, allowing some studio titles to pass its coveted turnstiles, while leaving a lot of potential on the table as it was stingy (or very late) on release dates and, notably, did not approve any movie featuring a Marvel character (from Black Widow at Eternals, Shang-Chi, Venom: let there be carnage and so far, Spider-Man: No Path Home, which has yet already crossed the billion dollars in the world without this market). There are various theories as to why this happened, and there is confusion as well. A recent editorial in CCP spokesperson World time accused Hollywood of “distorting the values of” political correctness “” and “misuse of Chinese elements in their films”. He also asked emphatically, “Should the Chinese Film Authority allow … movies to come in just because they’re Marvel movies?” While there is no consensus among observers as to when the situation will change, most agree that it will have to do so if the market is to maintain its dominance. While an oft-heard refrain is that China doesn’t care about money, the country is also said to care about cultural power. And, while he’s quite capable of producing local films that make over $ 500 million at home, without Hollywood product, sources believe he won’t be able to feed his ever-growing number of films. ‘screens in a post-pandemic world. Meanwhile, it will be interesting to see the country step up onto the world stage with the Beijing Winter Olympics in February (just as the lucrative Chinese New Year box office period will be up and running and when, normally, it there will be a so-called blackout on imported films). Several countries have already embarked on a diplomatic boycott of the Winter Games over human rights concerns, but allow their athletes to travel. For Hollywood, we are told, China remains a very important market, but one that must find a fine line between what is important politically and what position it wants to have.