Top 5 International Netflix Original Series

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How Netflix Is Empowering Future Showrunners From All Over the World:

South Africa. Italy. Turkey. Germany. France. Egypt.  When eleven writers from six countries gathered in Amsterdam  for Netflix’s first-ever Creative Collective Showrunner’s Workshop, total immersion was the order of the two and half days covering the span of the creative process from the writer’s room to post production.

The workshop comes as Netflix continues its expansion into local language content in these countries.  All of the writers invited to attend had previous writing credits on Netflix original series, including titles like Baby and Suburra: Blood on Rome in Italy, The Gift in Turkey and two series from France: the recent release Mortel and upcoming entry The Eddy.

Top row: Portia Gumede (South Africa), Netflix international originals director Nicole Norwood, Hamid Hlioua (France), Hatem ElKashef (Egypt), Mert Baykal (Turkey), Eileen Gibson Funke (consultant), Netflix creative talent director Christopher Mack, and Atasay Koç (Turkey).
Bottom row: Evren Sit (Turkey), Nicola Guaglianone (Italy), Eleonora Trucchi (Italy), Frédéric Garcia (France), Shady Abdul Latif (Egypt), Niko Schulz-Dornburg (Germany)

While the workshop was the first of its kind for Netflix, the company has demonstrated its commitment to first-time showrunners from around the world many times before.  House of Flowers hails from TV newcomer Manolo Caro of Mexico.  Sex Education marks the first series from British writer Laurie Nunn. Fauda co-creators Lior Raz and Avi Issacharoff, who are both from Israel, are also working on a second series for Netflix, as is British actress-writer Charlie Covell, from The End of the F***ing World. German husband-and-wife team Baran bo Odar and Jantje Friese, the co-creators of Dark, signed an overall deal with Netflix in 2018.

Our Top 5 Picks: International Netflix Originals:

Money Heist (Spain – La Casa de Papel)

Think Ocean’s Eleven except with an elaboration into the months of planning, foresight, contingency planning and psychological warfare that must be prepared for before robbing one of the biggest institutions of the country.   The risks are big but the pay out is bigger!   Not everyone gets out alive and they go in knowing that.

Ragnarok (Norway)

In Norse mythology, Ragnarök refers to a great battle of the gods, many of whom we know through are favorite shows like Vikings and Marvel Films.   This modern take centres on a small Norwegian town involving high school students who are called to fight an ancient evil.

3% (Brazil)

In the spirit of Hunger Games and Divergent, in the distant future, a post-apocalyptic Brazil where only 3% of the population are destined to survive in a virtual paradise where only a select few can escape after rigorous testing and screening.   The underdog and have nots are who we root for here where the coming of age story is turned on its head into a test of worthiness to break free of a dystopian universe.

We are the wave (Germany –  Wir sind die Welle)

Five teenagers in search of their place in the world and what they stand for disrupt the status quo through social media-compatible guerrilla campaigns against capitalism, climate policy and right-wing extremism. Tristan is their leader and instigator.  A millennial James Dean for the uneventfulness of West German duplex reality.

Better than us (Russia – Лучше чем люди / Luchshe, chem lyudi)

Set in the metropolis of a very near future, android robots have become commonplace and have entered all spheres of human life – they help them raise children, work as personal drivers and security guards.   An interesting look that uncovers very real future prejudices amongst a new species of machine that become the battlefront in place of controversies that surround political debates like immigration, race and gender politics.


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