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The fifth edition of Iberseries & Platino Industria opened today at the Matadero in Madrid (September 30 – October 3), launching a full week of screenings, networking events, and conferences. Among the first sessions, Gloria Saló, Director of Production and Content Consulting at GECA, presented the new edition of Euroficción 2025, a comprehensive study of scripted trends and challenges across Europe and Latin America.Saló underlined how comedy, long considered a genre that “does not travel well,” is gaining international traction: “Comedy used to be a genre that was harder to export than others, but now it seems we laugh at the same things,” she said. Examples include Poquita fe (Movistar Plus+), now heading for a German remake, and British titles such as Ghosts and Ludwig, both being adapted for U.S. audiences. Netflix Spain’s Machos alfa has also found success abroad, sold as a format in France, Germany, and the Netherlands.
Despite comedy’s progress, drama – especially thrillers – remains the backbone of global scripted production. GECA’s report shows that between September 2024 and August 2025, the UK led with 95 new scripted premieres, followed by France (81), Mexico (69), Germany (66), Spain (60), Italy (41), Brazil (35), and Colombia (34)
UK dramas typically run six to eight episodes.

France balances drama with comedies, miniseries, and telenovelas.
Mexico maintains strong output in dramas, telenovelas, and anthologies.
Germany, Spain, Italy, Brazil, and Colombia also recorded drama as the top genre in 2024/25.

Literary Adaptations on the Rise
The study highlighted 125 new literary adaptations worldwide during the season.
The UK stood out for adapting both classics and contemporary works (Scandalous, The Hardacres, Dept. Q).
Italy focused on historical classics (The Leopard, The Count of Monte Cristo, Sara, the Woman in the Shadows).
Spain leaned on contemporary novels (The Nameless Ones, I, Addict, What Are You Waiting For?, The Last Night in Tremor).
France pursued innovative approaches, such as an animated Three Musketeers, relocating Camilla Läckberg’s Erica from Sweden to France, and adapting Japanese manga Cat’s Eye.

Vertical Content: The Next Frontier GECA also spotlighted the emergence of vertical video formats, describing them as “one of the fastest-growing categories.”“Vertical video not only changes the way content is filmed and viewed, but also the storytelling language, adapting to a new aesthetic and form of narration,”Saló explained.
While this boom is strongest in Asia and the Americas, Europe remains cautious, “waiting to see what will happen.”Key examples of vertical storytelling include:

Behind Closed Doors – documentary on sports stars and scandal.
Born Twice – exploring trans identity.
Poor Clarita, The Cook Who Conquered the President, Duas Faces, The Night That Changed Everything.
My Wedding Is a Trap – a short-form telenovela premiered by Canal 13 in Chile.

Regarding vertical content production in Latin America, Saló highlighted Colombia, where in the past year more vertical series were produced than dramas, comedies, or telenovelas.