While there may be legitimate doubts about its longevity or, at the very least, about its dates, given that the MipTV market (8-10 April) it had been attached to is set to make a definitive move from Cannes to London in 2025, the Canneseries festival will unspool its seventh edition from 5-10 April. It’s a turbulent new episode in a saga worthy of Clochemerle, as the event was originally born of Canal+ and the city of Cannes’ refusal to accept the French government’s choice of Lille and Series Mania as the venue to organise an international series showcase in France.

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However, these questions swirling around its future have by no means prevented Canneseries from offering another superb programme this year, including a main competition that pits eight series (six of which are European) against each other, with four world and four international premieres. The jury is chaired by Danish actress Sofie Gråbøl (flanked by her colleagues Alice Braga from Brazil, Macarena García from Spain and Alix Poisson from France, as well as by composer Amine Bouhafa and director Olivier Abbou).

Featuring on the menu of this main competition are the 6 x 36-minute Danish show Dark Horse (which explores a mysterious and toxic mother-daughter relationship against a backdrop of addiction), created by Sara Isabella Jønsson, and the 10 x 30-minute Norwegian series Dumbsday (crated by Marit Støre Valeur, Erlend Westnes and Christopher Pahle), which tells of the rite of passage of a bunch of six no-hopers on whom the entire future of humankind depends, following a deadly pandemic. Also vying for the prize is a show bringing together Spain, Sweden, Germany and Finland, the 8 x 40-minute This Is Not Sweden [+lee también:
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Also duking it out is the 6 x 50-minute show Moresnet (produced by Belgium, the Netherlands and Germany, and created by Frank Van Passel, Jef Hoogmartens and Jonas Van Geel), which thrusts two childhood friends into an investigation blending fantastical elements and a neurotechnology multinational. Lastly, also taking part are the 6 x 45-minute German effort The Zweiflers (which examines a case of inheritance involving a family at the helm of a delicatessen empire, created by David Hadda) and the 8 x 50-minute Operation Sabre (produced by Serbia together with Bulgaria, and created by Vladimir Tagić and Goran Stanković), which looks back at the dark hours following the fall of Milošević, with a detailed reconstruction of the assassination of prime minister Zoran Djindjic in 2003.

Another two competitions will see eight short series (with Norwegian actress Henriette Steenstrup chairing the jury) and five documentary series (with French director Ovidie presiding over the jury) locking horns. Six titles screening out of competition round off the programme, with particular highlights being the French series Becoming Karl Lagerfeld (see the news), Fiasco (toplined by Pierre Niney) and Terminal (which will open the festival), plus the Netherlands’ Máxima.

Interestingly, the Icon Award will be handed to the USA’s Kyle MacLachlan, the Commitment Award to his fellow countrywoman Michaela Jaé Rodriguez and the Rising Star Award to Brit Ella Purnell.

The main selection:

Competition

Living on a Razor's Edge (Brazil)
This Is Not Sweden [+lee también:
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To the Wonder (China)
The Zweiflers (Die Zweiflers) (Germany)
Operation Sabre (Sablja) (Serbia/Bulgaria)
Dumbsday (Dummedag) (Norway)
Dark Horse (Denmark)
Moresnet (Belgium/Netherlands/Germany)

Short Formats Competition

Swift Street (Australia)
Rather Burn (Mejor quemarse) (Argentina/Spain)
Money Shot (Toinen Tuleminen) (Finland)
La Terre appelle Mathilde (Canada)
How to Fail as a Popstar (Canada)
Saint-Jean-du-Lac (Canada)
Painkiller (Sweden)
Tarot (South Korea)

Documentary Series Competition

Hidden (Niemand die het ziet) (Netherlands)
Etre ado (Teenagers) (Canada)
Hard to Swallow (Dur à avaler) (USA/Nigeria)
Dale Undercover (Dale l’infiltré) (France)
DJ Mehdi Made in France (France)