ZDF Studios’ Robert Franke on Bringing European Dramas to LatAm

One of ZDF Studios’ highlights this year was the debut of its FAST channel Crimen ZDF, aimed at Hispanic audiences in the U.S. and Latin America. The channel, launched in partnership with Castalia Communications, features acclaimed European crime, thriller and mystery series.

The channel offers hundreds of hours of content, starting with an initial package that includes renowned series such as The Crimson Rivers, based on Jean-Christophe Grangé’s best-selling novel; The Bridge, an award-winning Danish-Swedish series with multiple international adaptations; SOKO, which follows Germany’s special crime units; and The Old Fox, a long-running and popular German series centered on a chief inspector and his team. All content is dubbed into Spanish by Caaliope, a company specializing in dubbing and subtitling.

World Screen spoke with Robert Franke, VP Drama at ZDF Studios, about the partnership with Castalia Communications and the importance of co-production alliances in Latin America that aim to expand European content in the region. The executive emphasized that they are not seeking to “simply insert European characters into local dramas,” but rather to focus on stories with elements that transcend borders—“where international collaboration brings a depth and scale that would otherwise be missing.”

Franke also shared ZDF Studios’ strategies to strengthen its presence in Latin America, as well as the logistical challenges in the region, including the high costs of dubbing and localization that “often prevent local buyers from taking the risk,” the executive said.

WS: ZDF Studios recently launched a FAST channel targeting Latin America. What drove that decision, and how do you see this model fitting into the region’s evolving content landscape?
FRANKE: The initiative came from Castalia Communications, our long-term partner, who approached us with the idea of setting up a dedicated channel. Together, we developed Crimen ZDF, which we see as a natural extension of our B2B business, offering content directly to audiences. European content that is neither in English nor Spanish still faces significant barriers in Latin America. This is not due to quality or audience appetite, but rather to infrastructure issues such as limited slots in schedules, a reluctance to take editorial risks and the cost of producing language versions. From past distribution deals, we already knew that our shows perform strongly once they reach audiences. The challenge was simply getting them through the door. With Crimen ZDF, we have removed that bottleneck by creating our own platform for the content, localizing it on a large scale and building a sustainable audience base. The FAST model is particularly attractive because it enables us to enter the consumer space quickly, test audience behavior and expand our presence in a region where long-term growth is strategically important.

WS: What types of stories or series from your catalog tend to resonate most with Latin American buyers and audiences?
FRANKE: Certain genres are truly universal, and crime fiction is one of the most reliable. Themes such as murder, investigation and the moral weight of a life lost cross borders effortlessly and always find a response. This is why crime forms the backbone of our channel. We layer selected thrillers and action series around it to add variety, pace and commercial appeal. The result is a programming mix that stays true to our strengths while offering Latin American audiences a wide range of engaging stories.

WS: From a content strategy perspective, what are the key challenges you face when bringing European drama to Latin America? How do you adapt or localize content for this market?
FRANKE: The main challenge is not cultural relevance, but logistics. European drama has resonance, but the upfront costs of dubbing and localization often prevent local buyers from taking the risk. This is where our partnership with Castalia Communications comes in. They have a strong presence in the market and handle the operational complexity of choosing the right dubbing vendors, managing quality control, designing scheduling strategies and fine-tuning the presentation for different territories. Thanks to their expertise, we can ensure that our content arrives in a form that feels native and compelling to viewers.

WS: How significant are local partnerships in ZDF Studios’ efforts to expand its presence in the region?
FRANKE: They form the foundation of everything we do. ZDF Studios has been active in Latin America for over a decade, testing the waters through co-productions and B2B deals. Crimen ZDF now enables us to combine this legacy with a B2C approach, providing audiences with high-quality dubbed content directly. This would not be possible without local expertise and partnerships, which is why our collaboration with Castalia is so important. It gives us credibility and access, as well as the ability to scale up in a market that demands a strong local presence.

WS: Is Latin America a priority for international co-productions? Are there any specific territories or partners you’re actively engaging with for new collaborations?
FRANKE: Latin America is an exciting but complex market. While it boasts strong creative talent and ambitious storytelling, it is also dominated by vertically integrated media groups that control much of the ecosystem. This is why we approach co-productions in the region with precision. We look for projects that genuinely require a pan-regional perspective—stories that cannot be told without multiple cultural voices and settings. We are not interested in simply inserting European characters into local dramas. Instead, we focus on stories with genuine cross-border elements, where international collaboration adds depth and scale that would otherwise be lacking.

WS: ZDF Studios is known for delivering premium drama with international appeal. How do you ensure your stories retain cultural authenticity while still being globally accessible, particularly for markets like Latin America?
FRANKE: For us, authenticity can only come from lived experience. This is why we have always co-created with local partners. We believe that the essence of co-production lies in bringing different voices together and enabling each one to contribute its own perspective. This approach ensures the cultural identity of the story remains intact while the shared narrative gains relevance across multiple markets. In the context of Latin America, this means avoiding the export of a European lens onto local realities and instead combining creative energies to produce content that feels authentic to local viewers while still connecting with global audiences.

WS: As you look ahead to 2026, what trends or shifts in audience behavior are you watching closely?
FRANKE: One of the most significant developments is the balance that audiences are striking between free, ad-supported viewing and paid subscription models. FAST channels are growing rapidly because they offer curated content free of charge, which is particularly appealing in emerging and price-sensitive markets. At the same time, audiences continue to demand premium drama with strong cultural identities, especially series that feel distinctive rather than formulaic. The challenge—and the opportunity—lies in connecting these two trends by bringing culturally rich, premium storytelling to environments where viewers are experimenting with new ways of accessing content. If we succeed, we can increase our reach while maintaining the quality and authenticity that define our portfolio.