How a French Producer Attracted Storytellers from Around the World

**EXCLUSIVE**: When asked about the films that motivate her, Elisabeth d’Arvieu, CEO of Mediawan Pictures, illuminates with enthusiasm. “The Godfather, obviously,” she states, fondly remembering her early experiences with “all the Hitchcocks” and Brian De Palma’s initial endeavors. Despite being pressed for time with her schedule, she eagerly lists films, from Parasite to Emilia Pérez, which she has indulged in thrice. “I’ve been obsessed with movies since childhood,” d’Arvieu laughs, showcasing her passion for the medium.

This fervor reflects what makes Mediawan **magnetic** for some of the most prominent creatives globally, including Brad Pitt’s Plan B and Florian Zeller’s Blue Morning Pictures. Industry insiders admire the **light-touch leadership** of d’Arvieu and CEO Pierre-Antoine Capton, along with the **open, honest creative conversations** they facilitate. Roanna Benn, co-CEO of Drama Republic, noted, “They are good people in it for the right reasons.”

Established a decade ago, Mediawan may not be a newcomer, yet it retains its role as a **disruptor** in the industry. The company entered the Cannes Film Festival boasting notable projects: Plan B’s Netflix sensation Adolescence, a film that reframed discourse around **male violence**, and the recent acquisition of See-Saw, the British-Australian production house behind Slow Horses and The King’s Speech.

Insiders reveal that Mediawan’s 51% ownership in See-Saw values the company at about £100 million ($130 million), following a revenue report of £116 million last year. Joint CEOs Emile Sherman and Iain Canning remark how the current market “**rewards companies** with access to larger producer networks,” expressing an “immediate creative and cultural affinity” with Mediawan.

Thomas Dey, CEO of ACF and broker of the See-Saw deal, highlights the multifaceted nature of the Heartstopper producer. With bases in **London and Australia**, an expansive film and TV slate, and a “**treasure trove**” of intellectual property, including The NeverEnding Story, which is gearing up for a cinematic comeback, Mediawan is poised for significant growth. “Some buyers came in and almost learned about the setup of See-Saw,” Dey adds.

When prompted for her elevator pitch to prospective partners, d’Arvieu embarks on a **10-minute discourse** emphasizing **complete independence**, funding for IP acquisitions, and direct engagement with Mediawan’s leadership. This unique approach includes cash and share options that incentivize production partners, fostering a sense of collaboration. Dede Gardner, co-president of Plan B, remarks, “They’ve been incredibly supportive and true to their commitments. Their primary goal is to allow us to maintain our authenticity.”

“A couple of years ago, we weren’t the first studio that sellers would consider,” d’Arvieu explains. “As we’ve strengthened our reputation, many have started reaching out to us organically.” Dey, dealing regularly with major European production groups, notes that Mediawan consistently maintained a **firm yet fair stance** in negotiations. “We navigated the discussions, and they cut through the complexities with clarity,” he states.

Mediawan’s official website articulates its fundamental goal: to “create a space where creativity can **thrive**.” However, what embodies commercial success? D’Arvieu stresses that Mediawan does not impose a revenue target like some competitors, a prudent move after seeing the struggles of industry peers. The 2024 merger with German giant Leonine Studios revealed Mediawan’s sales reaching **€1 billion**, significantly less than **Banijay**, a powerhouse in the industry. D’Arvieu asserts that private equity stakeholders, including KKR, are firmly supportive without seeking an exit after their investment during Mediawan’s de-listing from Paris Euronext in 2020. Yet, some analysts caution that a five-year horizon can often prompt venture capitalists to reconsider their stakes.

“KKR aims to convey that scale brings higher margins,” claims François Godard, a senior analyst at Enders Analysis. “The M&A landscape is bound to remain active, suggesting Mediawan will continue its growth trajectory.” The company undertook refinancing last year, securing a €500 million loan alongside a €225 million revolving credit line, earmarked for future acquisitions. While d’Arvieu indicates that Mediawan will not engage in a **shopping frenzy**, the focus will remain on partners who align with their **artistic vision**.

D’Arvieu addressed Deadline on the same day that Cannes announced its 2025 official selection. Mediawan proudly features two titles: Bono: Stories of Surrender, Plan B’s Apple TV+ documentary spotlighting the U2 frontman; and Sylvain Chomet’s animation The Magnificent Life of Marcel Pagnol. D’Arvieu expresses particular excitement about the latter, stating it resonates with Mediawan’s **cultural essence**, merging an Oscar-nominated director with a celebrated French cultural figure.

This article initially appeared in Deadline’s Disruptors/Cannes. Read the digital edition here.