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During MIA – Mercato Internazionale Audiovisivo, held in Rome from October 19–23, 2026, Formatbiz conducted an exclusive interview with Diane Min of CJ ENM on the occasion of the conference organised by KOCCA (Korea Creative Content Agency) to promote Korean content in the Italian market.
The interview explores CJ ENM's plans for Italy, the growing opportunities for K-dramas beyond streaming platforms, and the potential for Korean content to reach wider audiences through Italian broadcasters and local VOD services.CJ ENM Eyes Italian Market Expansion: Exclusive Interview with Diane Min at MIA 2026

What are your plans for the Italian market?
CJ ENM: Our aim in Italy is to deepen our connection with the existing fan base for Korean content while reaching new audiences. We want to work with broadcasters, platforms and distributors to find the right audience and release strategy for each title, showcasing the breadth of Korean drama, from romance and stories about young people to fantasy and crime.
That is why we attended MIA, where we met with a number of broadcasters and production companies. We expect Italian audiences to be able to enjoy Korean dramas on local television channels and platforms in the near future.

Are there any specific titles you are looking to launch in Italy, and if so, which ones?
CJ ENM: Titles we would like to introduce include Guardian: The Lonely and Great God, Lovely Runner, and True Beauty. The selection ranges from established CJ ENM dramas to stories combining youthful romance and fantasy, which can offer younger audiences an engaging introduction to Korean drama.
K-content already has a strong and passionate fan base in Italy. Do you believe that Korean content can reach Italian audiences exclusively through streaming platforms such as Netflix, which already offers a wide range of Korean dramas and entertainment shows, or do you see opportunities for K-content on traditional broadcasters and other platforms as well?

CJ ENM: Streaming platforms have played an important role in helping international audiences, including those in Italy, discover Korean content. They will continue to do so, but I see opportunities across a wider range of outlets. Broadcasters can introduce titles to new audiences through programming and promotion, while local VOD services can cater to each market’s viewing habits.

In France, CJ ENM dramas are reaching audiences through services such as M6+ and TF1+, with Lovely Runner available on M6+. With the right dubbing, subtitles, scheduling and promotion, I believe we can reach beyond Italy’s existing fan base. Television, broadcaster VOD services and other free and paid platforms can complement one another, helping Korean content reach a broader audience.