Netflix Teases ‘Summer Job’ Reality Show, ‘Robbing Mussolini’ at MIA

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Winter is coming, but not at Netflix since the streamer will launch its reality show “Summer Job” – produced by Banijay Italia – before the end of the year.

“I’m proud because it’s an original show made for Italy,” Tinny Andreatta, vice president of content for Italy, told MIA Market on Wednesday.

Netflix has been eager to expand its unscripted content.

“We know our members love it. It’s a really exciting and growing area for us,” added Larry Tanz, Vice President of Content for EMEA. Mentioning some recent hits from “Young, Famous & African” to “I Am Georgina,” both returning for a second season, as well as the new Spanish offering “Who Likes My Follower?”

The docuseries is also having a moment, it has been said, with the debut of Mark Lewis’ already controversial “Vatican Girl: The Disappearance of Emanuela Orlandi”.

“It’s a very sensitive show,” Andreatta noted.

“When we launched ‘SanPa: Sins of the Savior’, we felt there was an audience for these kinds of shows and skills in the market, both on the production side and the talent side.”

But Netflix also intends to invest more in “great movies,” Andreatta said, giving audiences their first glimpse of “Robbing Mussolini,” which will premiere at Rome Film Fest on Saturday.

Directed by Renato De Maria – also behind the streamer’s 2019 drama ‘The Ruthless’ – and described as a “true story of a legendary heist”, it will see a group of misfits attempt to steal Mussolini’s treasure. Matilda De Angelis and Pietro Castellitto star.

Highlighting stories based on real events, big IP adaptations, and “anti-hero tales,” Andreatta also teased “The Lying Life of Adults,” based on a novel by Elena Ferrante. The series will air in November.

“[This show] proves how much we want to invest in great authors and directors also known abroad. Director Edoardo De Angelis delivers a strong vision of Naples in the 1990s. His voice blends perfectly with Ferrante’s masterpiece.

“All Calls to Salvation” – set to premiere October 14. — will mark another high-profile adaptation, this time of Daniele Mencarelli’s award-winning autobiographical novel.

With its complex protagonist, sentenced to a week of compulsory treatment in a psychiatric ward after an outburst of anger, the show exemplifies Netflix’s desire to “be connected to the spirit of the present,” she noted.

As both panelists pointed out, Netflix’s strength is tied to the ability to invest in local content.

“To succeed internationally, we first have to succeed with our local audience, connect with their needs and desires. I think the quality of Italian content is quite high, but it was difficult to export it. Now , with subtitles and dubbing, it’s possible to have it all over the world. It’s something new and groundbreaking,” she said.

“When I joined the company eight years ago, we were trying to commission shows with very little local knowledge and very little expertise. Now it’s totally different,” Tanz agreed.

“We are close to creators and speak to them in their own language. We see a whole different kind of storytelling, where it doesn’t have to be English, it doesn’t have to be Hollywood to reach the world. It can be very specific and very authentic.

But variety is still important.

“Our members want to watch ‘Money Heist’ one day, then ‘Young, Famous & African’, then ‘Too Hot to Handle’. That’s just my watchlist, by the way,” he laughed.

“People ask me what my favorite show on Netflix is. Right now it’s ‘The Empress’ from Germany. But I just came back from Warsaw, where we opened a new office and have a hit show called “High Water.” So that’s also my favorite.

“Hope you’ll have enough to watch in the next few weeks.”

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