Disaster strikes when the Northern Hemisphere is hit by the worst snowstorm in recorded memory: The Super Mega. France sends out the call for help, totally unable to handle a major snow storm, but every country up north turns them down. They need their own people to dig themselves out. Then one country comes to the rescue. Norway. They sent 5 citizen volunteers to Paris, who in the end, they really do next nothing, but have a great time drinking, eating, and chasing French men and women driven mad by the Super Mega. Which wasn´t really that bad in Paris. Only 4 inches of snow.. But as far as the French are concerned, what the Norwegians did to help them deal with this disaster earns them the Legion d'Honneur.

Feature film / Largometraje "Here She Comes" by Marta Perez-Coca

A 20-something, down-on-his-luck film buff (Ludovico) obsessed with pre-1990s detective and crime series, as well as stylish male actors, and who starts dressing like them, falls in to doing what his heroes does when his vintage bike, fixed up by him personally and a model one of his film heroes rode in a movie series, sets about finding the robber, which leads to a syndicate behind the widespread stealing and reselling of thousands of bikes across The Netherlands. Impressed by his amateur detective work, and despite the fact they think it´s weird he dresses up like people from the past, set him on helping them solving other crimes in his deteriorating neighborhood where crime is on the rise. His success in Season 1 leads them in Season 2 to inviting him to clean up crime in another neighborhood, but this time with a similarly quirky and self-taught amateur detective, except a young woman (Sanne) focused on crimes involving woman. Could it be that together they can turn around the crime rate in this neighborhood with more complex crimes, many affecting women, using his best crime solving skills as a man and her best skills as a woman? One way or the other, it´s a new career for these two oddball 20somethings who´s lives before were immune to the crime rates going up in their own neighborhood.

The Belgian owner of a Dutch real estate company who offers luxury villas and an intriguing list of “a la carte VIP services” to clients seeking a “vacation of a lifetime” is forced to personally handle situations that threaten to ruin her reputation and damage, if not destroy, her business. How does manage? With a loyal, seasoned team, an intriguing network of “VIP service providers” able to realize almost any vacation fantasy you might have (for a price), and a bit of x factor savoir faire.

De Nederlandse vastgoedmarkt is hot. Superheet. Een top vastgoedgroep koopt een oud pand in Amsterdam op een toplocatie. Het is van plan om te renoveren het tot een luxe appartementen- en hotelcomplex. De huurders zijn overtuigd om te verkopen. De ondertekenings dag komt eraan. Eentje veranderde plotseling van gedachten. Er staan ​​miljoenen op het spel. Beiden zullen doen wat nodig is om als beste uit de bus te komen en Nederland polariserend.

Short pitch for fictional screwball comedy feateure film set in Amsterdam, The Netherlands: The Dutch real estate market is hot. Super hot. A top real estate group buys an old building in Amsterdam in a prime location. It plans to renovate it into a luxury apartment and hotel complex. The tenants are convinced to sell. Signing day arrives. One suddenly changed their mind. Millions are at stake. Both will do what it takes to come out on top, polarizing The Netherlands.

Cinema speelfilm for bioscoop. 90 min aprox. De Nederlandse vastgoedmarkt is hot. Super heet. Een top vastgoedgroep koopt een oud pand in Amsterdam op een toplocatie. Het is van plan het te renoveren tot een luxe appartementen- en hotelcomplex. De huurders zijn overtuigd om te verkopen. De ondertekeningsdag komt eraan. Eentje veranderde plotseling van gedachten. Er staan miljoenen op het spel. Beiden zullen doen wat nodig is om als beste uit de bus te komen en Nederland polariserend.

Synopsis and character sketches feature film The Holdout, a comic drama and original, fictional story set in Amsterdam, The Netherlands (Dutch title: De Dwarsligger). A top tier real estate company buys a lucrative building in the heart of Amsterdam, where the market is hot and competitive. There´s 20 long-term renters in the building and all agree to move out for a premium fee and sign the move out agreement on signing day.. It seem like this is a done deal and the company can move ahead with a full renovation to turn this old deteriorating building into a luxury complex of high-end apartments and a swanky hotel. Then there's a problem. One of the contracts was fraudulent. Not on behalf of the renter, but a family who signed on her behalf. The renter has changed her mind. She doesn´t want to move. It´s a little of Turkish lady. For the rest of this screwball comedy with strong social undertones, the real estate group tries everything in the book, legal and then illegal, to get the old lady out. But she´s got an interesting collection of supporters, which only grows the more the real estate company pushes. In the end who will win? Big business or an old lady whose grounds for staying get shakier and shakier until both sides t up for battle, with half the country watching.

Beat outline of feature film comic drama original story. A top tier real estate company buys a lucrative building in the heart of Amsterdam, where the market is hot and competitive. There´s 20 long-term renters in the building and all agree to move out for a premium fee and sign the move out agreement on signing day.. It seem like this is a done deal and the company can move ahead with a full renovation to turn this old deteriorating building into a luxury complex of high-end apartments and a swanky hotel. Then there's a problem. One of the contracts was fraudulent. Not on behalf of the renter, but a family who signed on her behalf. The renter has changed her mind. She doesn´t want to move. It´s a little of Turkish lady. For the rest of this screwball comedy with strong social undertones, the real estate group tries everything in the book, legal and then illegal, to get the old lady out. But she´s got an interesting collection of supporters, which only grows the more the real estate company pushes. In the end who will win? Big business or an old lady whose grounds for staying get shakier and shakier until both sides t up for battle, with half the country watching.

An ethnically divided Miami neighborhood is terrorized by a possessed champion cockfighting rooster named "El Diablito Rojo" after he is kidnapped then smuggled into the US from a rural village in Cuba. Two teenage World of Warcraft addicts and a young Latina spring into battle to save their street from the diabolical menace.

Dirty Harry finally has an heir. And she´s a woman. SALTY PEPPA. You wanna play dirty? You just make her day.

ESPAÑOL Una policía española, pero mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tía, no se juega ni si embarque. ENGLISH Una policía española, mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tia, no se juega ni si embarque. To do go as a cop, espeically a woman cop, sometmes you gotta break the rules, or just ignore them. Dirty Harry is alive and well. But she´s a woman, and in Spain.

Una policía española, pero mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tia, no se juega ni si embarque. To do go as a cop, espeically a woman cop, sometmes you gotta break the rules, or just ignore them. Dirty Harry is alive and well. But she´s a woman, and in Spain.

Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project. This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned. After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years. In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast. Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners. The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and key crew members (editors, cinematographers, production managers, sound designers, foley artists, etc. Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients. The overall mission of the "techno-tainment" process would be to: 1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time. Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers. In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.

Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project. This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned. After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years. In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast. Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners. The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and principle crew (editors, cinematographers, production managers, sound designers, foley artists, etc. Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients. The overall mission of the "techno-tainment" process would be to: 1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time. Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers. In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.