MIPTV

MIPTV (International Market of Television Programs) was long considered the “spring” gathering of the content industry in Cannes. Its principle was simple: to bring together, over a few days, the players who create and circulate content (buyers, distributors, producers, broadcasters, and later platforms and digital players) to sell, acquire, finance, and co-produce.

In practice, the market was organized at the Palais des Festivals, around an exhibition floor, one-to-one meetings, and a large number of conferences and matchmaking initiatives.
The role of the Palais des Festivals was crucial: it concentrated exhibition stands, screening rooms, meeting spaces, and conference areas within a single perimeter, supported by logistics designed to handle large flows of professionals. This Cannes “centrality” helped make MIPTV a catalyst for international business.

MIPTV was created in the early 1960s, at a time when modern television was taking shape and the circulation of programs was gaining value. Several historical sources indicate that Bernard Chevry founded MIPTV in 1963, with its first edition held in Lyon.

Behind this creation was a strong entrepreneurial vision: while festivals celebrate works, a market connects decision-makers and organizes distribution. From the outset, MIPTV embraced this logic—showcasing catalogues, facilitating negotiations, and accelerating the commercial cycle of content.

The move from Lyon to Cannes happened quickly. After a one-year pause, the market relocated to Cannes in 1965 and settled in the former Palais (pre-1982), before moving into the new Palais des Festivals when it opened in 1982.

This choice was strategic: Cannes offered accommodation capacity, international appeal, and a proven event environment that facilitated the arrival of foreign delegations and continuous meetings.

Over time, this positioning strengthened, turning Cannes into a hub for professional markets where the audiovisual sector became firmly established.

The 1980s and 1990s marked the industrialization of the model. The market expanded, professionalized, and globalized: more stands, larger catalogues, structured meetings, and increasingly standardized commercial processes. From the late 1970s, American presence grew significantly, with major studios becoming key exhibitors.

The organizer’s evolution also played a role. The sale of MIDEM to Television South (TVS) in 1987, followed by its acquisition by Reed Exhibitions in 1989, led to the creation of Reed MIDEM. This phase reflected consolidation: markets became global platforms with scalable processes and teams.

During its peak years, attendance often exceeded 10,000 delegates, marking what many professionals remember as the “massive” era of MIPTV.

From the 2000s onward, formats became exportable, adaptable, and highly profitable products. While MIPTV did not create formats, it became a key marketplace where they were bought, sold, compared, and deployed internationally.

Major distributors played a central role, including FremantleMedia, known for global hits like Idols and The X Factor.

MIPTV’s value here was clear: concentrating buyers and offers to accelerate programming decisions.

In the 2010s, two major trends emerged: the growing importance of international co-productions and the central role of digital platforms in content distribution.

At its peak during this period, MIPTV gathered around 11,500 delegates from 106 countries, with approximately 1,700 exhibitors and over 50 conferences, workshops, and matchmaking events.

This decade also saw the rise of new influential territories and increased collaboration with Asia, reflecting the globalization of the content market.

MIPTV operated as a highly structured commercial mechanism. Companies showcased catalogues, held scheduled meetings, organized screenings, and negotiated rights—territory by territory—along with distribution deals, co-productions, and format adaptations.

Conferences complemented this ecosystem by providing market insights and networking opportunities, but the ultimate goal remained deal-making or advancing negotiations.

MIPTV concluded its Cannes chapter in 2024, marking the end of an era.

It is set to be replaced by a new format in London starting in 2025, reflecting evolving industry needs and geographic shifts.

MIPTV’s legacy lies less in awards than in methodology. It helped standardize international markets, establish a culture of rights management (windows, territories, exclusivity), and create “market moments” where trends and business opportunities emerge rapidly.

It also anchored Cannes as a major hub for the audiovisual industry. The continued recognition of Bernard Chevry’s contribution highlights the lasting impact of MIPTV on the city’s economic and cultural positioning.

Even as its Cannes cycle has ended, the model it established—bringing the industry together, accelerating deals, and shaping trends—remains central to how the global content industry operates today.