Interview: Synnøve Hørsdal • Producer, Maipo Film - “Independent Productions Help to Foster Dialogue and Understanding Within Our Society” - Indie Producer Focus/Series Mania 2026

Key Takeaways

• Risk‑averse climate limits series innovation
• Funding cycles lengthening across Europe
• International tax shelters aid high‑budget dramas
• Council of Europe convention supports public‑funded co‑production
• The Creatives alliance safeguards independent producer autonomy

Summary

Norwegian producer Synnøve Hørsdal of Maipo Film warns that Europe’s TV series market is entering a risk‑averse phase, with broadcasters favoring familiar IPs and longer funding cycles. She highlights the difficulty of securing public and co‑production financing, especially for higher‑budget dramas that need international partners. The new Council of Europe co‑production convention is seen as a boost for independent producers, reinforcing public‑funded projects that challenge mainstream narratives. Hørsdal also stresses the strategic value of alliances like The Creatives and Programme MEDIA support in preserving independent voices amid industry consolidation.

Pulse Analysis

Europe’s television landscape is at a crossroads. After years of a content boom, broadcasters and streaming platforms now prioritize proven franchises, squeezing out experimental storytelling. This risk‑averse environment extends funding timelines, forcing producers to piece together smaller co‑production deals and navigate increasingly bureaucratic public‑funding applications. For independent houses like Maipo Film, the shift means longer development phases and a heightened need for cross‑border financing to sustain ambitious dramas that can compete on a global stage.

The newly ratified Council of Europe convention on series co‑production offers a timely policy lever. By encouraging signatory states to earmark public money for collaborative projects, the treaty aims to protect independent creators from homogenized mainstream output. Hørsdal points to The Creatives alliance—nine European independents pooling resources—as a practical response, allowing members to retain national identities while sharing risk and expertise. Leveraging international tax shelters further cushions budgets, making it feasible to produce higher‑cost, socially resonant series that might otherwise be sidelined.

Looking ahead, the health of Europe’s cultural dialogue hinges on sustained public support. Programme MEDIA funding remains a lifeline for small markets like Norway, enabling projects that explore societal issues rather than merely chasing ratings. As democratic values face pressure, independent series serve as a conduit for public discourse, reinforcing the argument that a vibrant cultural sector is as essential as any defense apparatus. Continued investment in independent production will therefore shape not only the entertainment ecosystem but also the broader social fabric across the continent.