Prime Video is renewing “La Oficina,” the Mexican version of Amazon MGM Studios’ global hit “The Office,” following the launch of Season 1 on March 13.
“La Oficina” is set in Aguascalientes, central Mexico, and depicts the misfortunes of the employees of Jabones Olimpo, a family-run soap company led by incompetent Nepobaby regional manager Geronimo Ponce III, played by Fernando Bonilla (“Las Muertas,” “Un Extraño Enemigo”).
Produced by Amazon MGM Studios and Machina Vega, the Mexican series is the latest international version of the highly successful BBC Studios series The Office, created by Ricky Gervais and Stephen Merchant, and joins its return in the United States, France, Chile, Poland, Australia, and several other territories.
“‘La Oficina’ really broke out in Mexico in a way that felt immediate and sustained,” Javiera Balmaceda, Amazon MGM Studios’ head of local original production for Latin America, Canada and Australia, told Variety. “It quickly became the most-watched title locally on Prime Video, and more importantly, it stuck. Audiences continue to discover and talk about it long after its release,” she added.
Vogue Mexico recently praised La Officina for showcasing new and lesser-known Mexican actors, saying, “This decision perfectly reflects the essence of The Office.” Ricky Gervais achieved worldwide fame by producing and starring in this film, but it was the first major role for actors like Martin Freeman. ”
News of the relaunch comes as Balmaceda cites comedy as a key element of Amazon Prime Video’s content mix. “Comedy is a big part of how we think about storytelling in Latin America. Comedy really connects with audiences and reflects culture in a very direct and recognizable way,” she told Variety.
Gaz Alazraki, a seminal figure in the Mexican film and television industry who wrote, produced and directed the film “Nosotros Los Nobles,” is back as director and executive producer. Released by Warner Bros. in 2013, the film became the highest-grossing Mexican film of all time, dethroning The Crimes of Father Amaro, which had held the title for 11 years.
Alazraki and “La Officina” showrunner Marcos Bucay collaborated on the hit show “Club de Cuervos,” starring Luis Gerardo Méndez (“Nosotros Los Nobles”) and Maria Treviño (“A Man Called Otto”), making it Netflix’s first completely non-English original series.
“This is the first time I’ve taken on such a beloved title. My other shows have been original ideas, and this is the biggest IP in the world, so there was a lot at stake. At the same time, I wanted to do something new with this, and the response was amazing. Everyone felt there was no reason to touch on such a beloved IP, but once they saw what we had done with it, they wholeheartedly embraced it,” Alazraki told Variety told.
Season 2 of “La Oficina” doesn’t have a premiere date yet, but Balmaceda told Variety that the writers are already “building on what resonated most with us in season 1 and going even further into the types of workplace humor that the characters and viewers really responded to.” The series will once again be filmed in the state of Mexico.
Variety briefly caught up with Balmaseda, Alazraki, and Bukai.
Was producing this show particularly satisfying in any way?
Gaz Alazraki: I was very satisfied! First, having a pre-lit soundstage allowed us to change setups within 10 minutes. So I was able to focus on the performance and shoot a lot of takes. There was no need to rush. I was able to retake the parts I didn’t like. we rehearsed. We also created a small compact studio in an industrial park with make-up, wardrobe and art departments. So we were very efficient. Our actors also dined in the local bamboo area with other employees of the industrial park while wearing their character costumes. It was a very organic work.
Why do you think “La Oficina” resonated so well in Latin America, Brazil and Spain?
Alazraki: I think Latin American offices have a different kind of turmoil, given the number of family-owned companies and the lack of legal enforcement that allows different kinds of ethos to exist in the workplace. And while the British version of the show certainly captured a familiar working environment, there was a layer to it that came from producing the Latin American version on a distribution service like Amazon, which gave us the freedom to go as far as we wanted, creating a new brand of the show that we don’t see in British countries.
Why do you think it’s important to create original local stories?
Alazraki: I think we need to see ourselves on screen. Local conversations need to occur between content and viewers to create social movements in different areas of life. It becomes part of the local identity and local culture.
How do you explain the global phenomenon that is “The Office”?
Alazraki: Offices require a certain uniformity around the world, which is interesting when you understand how offices look across different cultures. No matter how conservative or liberal a society is, religious or agnostic, modern or classical, everyone has to adapt to office life. And when we have to follow a certain rigid structure, it becomes a mirror of how we are all the same as humans. And that in itself is very interesting to watch.
What were the biggest challenges in adapting “The Office” to the Mexican version?
Marcos Bucay: Finding the sweet spot between respecting the format and making it feel like it’s truly ours. So the challenge was to build a fresh story that had an achingly realistic office energy, but with a spicy Mexican twist.
What can we expect from Season 2?
Bukai: Everything becomes weirder and somehow more relatable. We expand the world, answer the mess we leave behind, and introduce new characters who stir things up. An unexpected office romance, a French soap conglomerate, and maybe a horse in the office. “La Oficina” spirals into even more absurd territory, but it’s something that will feel strangely familiar to anyone who has worked in Mexico.
What is unique about this version?
Bucay: Mexico already feels like a scripted comedy. Norteño bands randomly show up during work hours, the team breaks records with giant soap bars, the boss brings in a homeless man to teach people about motivation… the surreal is the norm here, so “La Oficina” doesn’t impose reality, it just imposes records.
What particularly impressed you about Season 1?
Javiera Balmaseda: What stood out was that the fans made it their own. Scenes and characters turned into memes almost overnight, and the brand began appearing in online conversations, seeing everything from think pieces to fan discussions about their favorite moments. This kind of engagement made the demand for Season 2 very clear, with people actively asking for more seasons and more episodes.
How does comedy fit into Amazon MGM Studios’ Latin America strategy?
Balmaseda: We’re focused on building shows that come back and grow with our audiences, like La Oficina in Mexico and Porno y Helado in Argentina, while also continuing to expand formats like LOL: Last One Laughing, which started in Mexico and resonated in multiple markets. At the same time, we are also experimenting with new voices and tones. Projects like “Prefiero la Muerte” show how far we can expand this genre. The goal is a slate that feels local, unique and really fun.
John Hopewell contributed to this article.
