A key initiative connecting filmmakers, producers and creators from Ibero-America and Europe with fiction, documentary or animated projects in late-stage development, the Iberseries Co-Production & Financing forum aims to back high-level productions and spark strategic collaborations between industry professionals on both sides of the Atlantic.
Selected teams will engage in tailored one-on-one meetings with potential co-producers, sales agents, distributors, financiers and platforms.
Iberseries & Platino Industria continues to expand its global network through partnerships with major festivals and markets such as Blood Window, FICCI, Rio2C, BIF Market, and Seriencamp. These alliances enable top-tier projects to join the Forum as special guests, creating new paths for international co-production and distribution.
More than a pitching space, the Forum serves as a dynamic hub for building partnerships and tracking emerging creative and business trends within the Ibero-American audiovisual sector.
This year’s crop hail from not only from Spain, Portugal and Latin America but also from Romania, Italy and Germany, Canada and the U.K., among others.
Each of the 11 series projects selected for the Forum aim for resonance both at home and abroad, showcasing the wide range of today’s Ibero-American storytelling — from noir thrillers to intimate dramedies, hybrid docudramas and even adult animation. Some stand out for their pedigree — a thriller adapted from João Tordo’s bestseller, or a docudrama reopening the Columbus debate. Others for sheer originality — a Buenos Aires flat turned into a marital experiment, or a fallen TV axolotl plotting a comeback.
A List of the Projects in the Forum:
FILM
“Accounts” (“Los relatos,” Miguel del Arco, Spain, Romania)
20 years after being imprisoned for his wife’s murder, Pablo returns to his hometown as his biography is published. “The film interweaves multiple perspectives to explore gender violence, social reintegration and collective memory in the aftermath of the crime,” says director Miguel del Arco. Now shooting, the film is produced by Spain’s Aquí y Allí Films (“Life and Nothing More”), 3040 Cine and Avanpost.
“Cabildo 71” (Victoria “Pitoka” Pena, Uruguay, Spain, Brazil)
Inspired by the 1970 escape of Tupamara prisoners, the film follows political prisoner La Parda as she joins a secret plan for the largest women’s prison break in history. A Monarca Films-led co-production with highly active player Vitrine Filmes and Boulevard Filmes, now in financing. Selected for Iberseries, Cine Qua Non Lab, and FRAPA. Brazil’s reliably excellent Maeve Jinkings (“Charcoal”) stars. “An intimate lens on resistance,” says Pena.
“Closed for Mourning” (“Cerrado por Duelo,” Darío Mascambroni, Argentina, Italy, Chile)
A fatal accident, a faked suicide and a family implosion drive this dark comedy-drama about two men spiraling toward tragedy. In advanced development, the project is backed by Jaque Content (Argentina), The Piranesi Experience (Italy) and Juntos Films (Chile). Selected for EAVE Puentes, Berlinale Talents, and Iberseries. “A ruthless, absurdist take on family as battleground,” says Mascambroni.
“Disposable” (“Desechable,” Carlos Gómez-Salamanca, Colombia, Spain)
In this animated revenge thriller, a biochemist-turned-junkie transforms into El Colibrí, an assassin targeting corruption after losing his only companion—his dog. “A brutal, hallucinatory journey through violence, grief, and resistance,” says Gómez-Salamanca. A co-production between Jaibo Films (“My Grandmother’s House) and Nocroma Estudio, currently in production. Backed by ICAA, FDC, TVE and ECAM Incubator.
“Holy Relief” (“Santo Alivio,” Maritza Blanco and Iván Onatra, Colombia)
Set in an early 19th-century convent, this provocative erotic comedy follows cloistered nuns who discover that divine pleasure—specifically, masturbation—is the most effective remedy for treating the mutilated bodies and tortured minds of dying soldiers. “This is a transgressive film that, through laughter, confronts us with ideas both pleasurably uncomfortable and socially taboo,” says co-writer and producer Maritza Blanco of Dessu Prods. Filming is projected for the first half of 2027. Colombian funding covers 35% of budget.
“It Was Her Idea” (“Fue idea de ella,” Lucas Mirvois and Azul Lombardía, Argentina, Spain)
Currently in advanced development, “It Was Her Idea” follows a couple whose dreams of parenthood and success spiral when they attempt blackmail after catching their neighbor’s affair via drone — only to get pulled into an awkward friendship after a freak accident. “What makes it unique is its blend of domestic espionage with heartfelt comedy,” says producer Lucas Mirvois of La Maldita, with offices in Spain and Argentina. In advanced script development.
Lux Noctis, Courtesy of Maligno Gorehouse
Lux Noctis (Maligno Gorehouse, Mexico)
Set in a matriarchal community where women create light to survive darkness, Lina’s forbidden love challenges brutal rituals. Producers Javier Sepúlveda and Eduardo Lecuona say, “Lux Noctis is a genre redefining work of dystopian folk horror… Through Damiana’s uncompromising vision, a wordless and desolate world emerges… reminding global audiences that even in darkness, hope endures.” Filming is planned for summer 2026. Maligno Gorehouse (“Huesera”) produces.
Off Balance (“Tiempo fuera,” Pedro Levati, Twins Latin Films, Amada Contents, Argentina)
Sofía (played by Belen Cuesta) inherits a modest basketball club after her husband’s death, sparking a journey blending dance and sport that leads to self-discovery. Says Silvina Dell’Occhio of Torneos, who just boarded the project: “It is the kind of content we want to be part of: a story balancing sensitivity, humor and broad appeal, combining strong artistic vision, high production values and sports at its core.” In development.
“Sunward Hell” (“Ruta al Sol,” Jorge Leyva, La Tuerca Films, Mexico)
A folk horror thriller where Sara, a doubting preacher, and her friends confront a savage pagan whose secrets could unleash the Final Judgment. Jorge Leyva says, “’Ruta al Sol’ was born from a personal wound… confronting audiences with an unsettling question: in the face of absolute evil, what would I do?” Won two Blood Window prizes at Ventana Sur. Filming is planned for early 2026. Company finances via private and public funds, through co-productions, incentives and strategic partners.
“The Infinite Life” (“La vida infinita,” Marina Seresesky, Spain)
Four years after her son’s disappearance, a grieving mother travels to Latin America, convinced she’s found his reincarnation. “Our protagonist’s journey is both physical and mental; her life will take a 180-degree turn, and all her beliefs will be called into question,” say Seresesky and producer Álvaro Lavín. A suspense-driven emotional thriller from Meridional Producciones, now seeking co-production partners. Backed by Spanish tax incentives.
“The Jump Into the Void” (“El salto al vacío,” Oriol Gispert and Toni Comas, Spain, Germany)
In development, this docu-fiction hybrid revisits the tragic story of Yelena Miróshina, the Russian diver who won silver at the 1992 Barcelona Olympics and died under mysterious circumstances three years later. “This is a never-before-told story about elite athletes—specifically divers—who suffered severe post-Olympic consequences,” says Oriol Gispert. “It offers a new lens to explore mental health.” Producers: La Lupa Prods, 3Cat, Moviestar Plus+ and Germany’s Ravir Media. Filming is planned for 2026.
The Legend of Don Juan Manuel (Black Sheep Productions, Spain, Mexico)
Based on a true story, an aristocrat close to the Viceroy of New Spain begins a series of murders in 1637 Mexico City, exploiting his status to avoid justice. “What makes Don Juan Manuel unique is how it blends a gripping historical setting with a deeply psychological thriller. It’s not only a story of jealousy and obsession, but also a reflection on power, madness and the darkness within. The combination of period authenticity and universal human conflict sets this project apart,” says producer Mónica Aguirre. Currently in development with plans to film in the Basque Country and Jalisco.
“There is No Surf in Mars” (“No hay surf en Marte,” Hernán Zin, Spain, Brazil)
Written by Diego Betancor, produced by Doc Land Films, a doc-fiction hybrid by Emmy, Goya, Grammy-nominated Hernán Zin who’s been to at least 80 territories as a war correspondent and documentarian, including war torn Afghanistan, Gaza, Rwanda and Syria. Will be shot in Lanzarote, Canary Islands. Is also developing “Lanzarote,” a fiction series that shoots in a month, and “Gloria” that shoots in May, both comedies. “After spending the last 22 months in Gaza, I only want to make comedies,” said Zin, who’s completing his docu “We are All Gaza” (“Todos somos Gaza”), his toughest project in 30 years.
“What Does Mom Want Now?” (“Y ahora que quiere mamá?” Ani Alva Helfer, Kapow Producciones, Del Barrio Producciones, Argentina, Peru)
In development, with Ani Alva Helfer and Silvia Pasternac as screenwriters. During Christmas dinner, Martha (72) announces her separation after discovering her husband’s affair with her best friend, upending the holiday as her children and their partners confront their own romantic issues. “There is no one better than Ani Alva Helfer to speak about the bonds that shape the lives of Latin American women,” says executive producer Diego Ventura of Kapow Prods. Shooting is expected in early 2026.
TV
“A Remarkable Woman,” (Anastasiia Starova, U.K., Canada)
Blending Slavic intensity with British irony and Parisian style, the series teams Right Side Productions (U.K.) with Canada-based A Remarkable Woman Productions. Marketed as “Fleabag” in a corset or “Emily in Paris” à la Proust, it mixes period allure with a Gen-Z edge. Feminist in tone and visually distinctive, the story unfolds in Belle Époque Paris through the eyes of the world’s first influencer.
“Columbus: Myths and Origins,” (“Colón: mitos y orígenes,” Sergio Guerrero Garzafox, US/Spain, Mexico)
One of history’s greatest enigmas takes center stage in this four-part docudrama exploring Columbus’ true identity. DNA analysis, investigative journalism and dramatization reopen a centuries-old debate with cinematic energy. Directed by Sergio Guerrero Garzafox, a Los Angeles Area Emmy winner for “Gracias Maestros.” The project teams Indie Eye Productions with Spain’s EFD Studios and Mexico’s AG Media.
“Couple’s Apartment,” (“Departamento de casados,” Azul Lombardía & Lucas Mirvois, Argentina)
Created by Azul Lombardía (“No me rompan”) and Lucas Mirvois (“Malas decisiones”), and produced by La Maldita, this 8×30 dramedy mines humor from the small miseries of marriage. Three couples take turns renting a Buenos Aires flat to briefly escape their lives, only to spark jealousy, regrets and misunderstandings. An intimate portrait of love and exhaustion that finds the comic edge in ordinary chaos.
“Freeloaders School,” (“Escuela de gorrones,” Horacio Alcalá, Spain, Belgium, Mexico)
A crew infiltrates billionaire parties to live off excess until disaster strikes: an heir collapses, a relic disappears, and survival depends on impossible choices. Creator Horacio Alcalá (“Finlandia,” “A ras de cielo”) partners with The Aurora Project (Spain), Belgium’s Ginger Pictures (“The Kingdom”) and Mexico’s The Maestros. Supported by Ibermedia, Torino Film Lab and the García Márquez Prize, it mixes heist mechanics, social satire and the high stakes of privilege.
“La Negra Dominga,” (Mónica Dopico, Spain)
A 4×45’ thriller written by former National Police officer Mónica Dopico and produced by Paloma Mora at TV ON Producciones (“Favàritx”) alongside Admirable Films. Rooted in real events, it follows a Colombian hitman who travels to Spain to avenge his son, pulling two inspectors — scarred and cynical — into a violent chase. Trauma, vengeance and corruption converge in this raw, cross-border crime drama.
“Malena, the Lead,” (“Malena, la protagonista,” Sebastián J. Fracini, Argentina, Uruguay)
An Argentine comedian develops a series based on her life but is told she can’t play herself. The result is a bittersweet dramedy about rejection, resilience and legacy that blurs fiction and reality. Malena Guinzburg (“En viaje”) stars, directed by Sebastián J. Fracini (“Coppola, el representante”) and produced by Cecilia Mato (Prime Video’s “Porno y Helado”) and Navajo Films’ Lucía Lamboley (“Today Match at 3”).
“Mars,” (“Marte,” Víctor Vidangossy, Chile)
In the Atacama Desert, a young woman dreams of becoming an astronaut while investigating her mother’s mysterious death and searching for the father who abandoned her. Featuring Fernanda Urrejola (“Narcos: Mexico”), Mario Horton (“Perdona nuestros pecados”) and Laura Vila, the series is directed by Víctor Vidangossy and produced by Trapo Films and Río Fundación with support from Chile’s CNTV.
Mars, Courtesy of Trapo Films
“Past Waters,” (“Águas Passadas,” Bruno Gascon, Portugal, Spain)
A Lisbon detective hunts teenage killers while confronting her own traumas, aided by a Spanish hermit. Bruno Gascon (“Carga”) directs from João Tordo’s best-selling novel, co-written with María Mínguez (“Custodia compartida”). Helena Caldeira (“Rabo de Peixe”) stars. Produced by Joana Domingues at Caracol Studios and Paloma Mora at TV ON Producciones, it has support from RTP, Pic Portugal and Instituto Valenciano de Cultura.
“Patagonia: What Paradise Hides,” (“Patagonia: Lo que Esconde el Paraíso,” Julio Jorquera, Spain, Chile, Germany)
Produced by María Wood Producciones, Atlantika Films and ZDF Studios, and written by Luis Barrales and Anastasia Ayasi, the thriller unfolds in the raw beauty of Patagonia. Starring Itziar Ituño (“Money Heist”), Benjamín Vicuña (“La Memoria del Agua”) and Unai Arana, it follows a mother whose son vanishes, uncovering the dark secret paradise is hiding. Family drama collides with environmental urgency.
“Romané,” (Juan Ignacio Sabatini, Chile)
Vicente Sabatini’s landmark 2000 telenovela is reimagined as a six-part drama. At its center, Jovanka Antich — exiled, betrayed, hungry for justice — embodies themes of migration, discrimination and gender power. Directed by Juan Ignacio Sabatini (“La Cacería: En el fin del mundo”) and produced by Santiago de Chile-based Villano, the reboot nods to Friedrich Dürrenmatt’s “The Visit,” reviving familiar characters while reframing conflicts for contemporary debates.
“Saturday Sabadete,” (“Sábado Sabadete,” Alex Rey, Spain)
Adult animation from Alex Rey (“Pobre Marciano”), produced by MiraChechu Productions with Luis Manso’s Películas Pendelton (“Mortadelo & Filémon”). Once a Saturday TV star, a giant pink axolotl now plots a desperate comeback against his ex-partner, who has become a powerful producer. With pilot and trailer ready, it positions itself as Spain’s bid for edgy, pop-culture comedy with a local twist.
