“More partnerships and more collaborations”: RX France’s Lucy Smith talks merging Mipcom’s mainstream market with the creator economy at the 2025 event

The global audiovisual industry is setting sail for its annual Riviera rendez-vous at Mipcom and all eyes are on the Cannes event’s 41st edition, running October 13-16, as it shifts its spotlight to the creator economy.

In the first year without its now-defunct MipTV market, this year’s biggest challenge for RX France entertainment division director Lucy Smith, who runs the event, has been to “embrace the creator economy, all while responding to traditional broadcasters’ needs and maintaining the core market.”

“I do believe we can bring the two communities together,” she tells Screen. “The goal for us and all of our clients coming is more partnerships and more collaborations, both now and in the future.”

While Mipcom is not getting a complete makeover, it will see noticeable signs of a facelift this year. YouTube will invade the Croisette with a colossal presence complete with an expansive branded hospitality space on the fifth floor of the Palais, a keynote from VP EMEA Pedro Pina, and daily workshops and hosted events in line with the company’s 20th anniversary.

The Producers Hub is being rebranded as the MIP Creative Hub to bring together creators, digital studios, brands and producers. It will welcome the first international edition of the BrandStorytelling Summit, which has been held for the last decade at Sundance Film Festival, and play host to an AI summit within its MIP Innovation Lab and an International Drama Co-Production Summit.

“Structurally, it remains the same, but there is a new energy since we are bringing in new players,” says Smith.

At the same time, traditional studios are returning, many after a long absence. Sony Pictures Television is back in force for the first time in eight years, with chairman Keith Le Goy delivering a keynote and the company’s new relationship drama The Miniature Wife screening in the Palais, with talent including star Matthew Macfadyen in tow. Paramount will also host a world premiere of police procedural Boston Blue with key cast, illustrative of a noticeable market return to more conventional global licensing rollouts.

“Companies have definitely gone back to thinking differently about rollouts and not just doing one-off global deals with streamers as it was for a while, particularly post-pandemic. There is more flexibility with rights,” Smith says.

Embracing a new era

The RX France executive insists that juggling the distribution market with new players has been a natural evolution.

“It’s already happening. Business between the two industries is not a new phenomenon. Look at Mr Beast on Amazon, or [UK creators] the Sidemen on Netflix, or [French influencer] Inoxtag who managed to bring together mk2, Banijay and TF1. These deals are already underway, our role is to continue to develop that side of the business.”

Inoxtag (Ines Benazzouz), who has 27 million followers across multiple platforms and whose documentary feature Kaizen was a box-office phenomenon in France, is among the new faces set to keynote at the event alongside Spanish content creator Nil Ojeda and Mattel Studios chief content officer Robbie Brenner. They will join more traditional industry executives like Le Goy, Banijay Entertainment CEO Marco Bassetti and Mediawan Pictures managing director Elisabeth d’Arvieu.

Describing 2025 as “a pivotal year in terms of how the media landscape is evolving”, Smith says, “Senior execs from big companies coming have been asking for this. There hasn’t been any pushback. The creator economy is something everyone is embracing because it is where the industry is going. It is an opportunity for the industry, not a threat.”

Organisers are expecting numbers on par with last year’s figures, which saw 3,300 buyers in town. Executives from Snapchat, Samsung TV Plus, TikTok and Tubi are also expected.

Smith also cites opportunities for newer participants to connect with Mipcom’s veteran core of industry delegates at conferences, roundtables and networking events. “Cannes is the Hollywood of Europe – it’s the only place the entire industry can come together at the same time.”

While the presence of brands and tech companies has drawn parallels with June’s ad-industry focused Cannes Lions, Smith argues: “Mipcom is a unique B2B TV content market, so when the creator economy or brands are coming in, they are approaching it in that way, to meet the global television and entertainment industry in one place.”

She adds: “YouTube is coming in a big way to Mipcom because they want to partner with the industry. Their aim is to demonstrate partnerships where they are helping build audiences and add revenue streams.”

As for the event’s relevance amidst the rise of other events across the globe, from Series Mania in Lille to RX France’s own newly launched Mip London which is set to return for a second edition in February, Smith affirms that Mipcom has no plans to throw in the towel anytime soon.

“We have a unique position as the only global annual TV and streaming and content market,” she says. “This strategy is long-term, and we are building this as the way to accompany the industry today and help develop what the media landscape will look like tomorrow.”

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