By: David Kleeman 

2024 marked the 60th anniversary of international children’s television festival Prix Jeunesse. To say that the industry has changed since its inception is the greatest understatement of all time. In 1964, limited channels meant children’s content had very few dedicated blocks or slots. The first years’ black-and-white prize-winners feel more like existentialist film or theatrical newsreels compared to today’s explosion of content and color.

From then to now, Prix Jeunesse has strived to reflect the current moment in its content and structures. Early on, the festival was dominated by public service broadcasters, but its doors have opened to accommodate the evolution to cable, streamers and today’s emerging platforms.

Not surprisingly, certain countries and broadcasters have dominated the competition over time. While money can’t fix a bad idea, stable resources are vital to getting good ideas off the ground. The UK, Netherlands, Germany and Nordic countries—all with strong public service media—have won the most trophies.

Many of us, though, go to Prix Jeunesse for a glimpse into cultures we otherwise seldom see, often in unique genres or styles. In 2024, independent voices from Latin America and Asia garnered the most attention, dominating the formal discussions, the chatter over beers at the legendary Shakespeare bar, and the “how did you do that” queries for the directors and producers.

In particular, Taiwan, Mexico and Chile all had shows in the top tier of finalists this year, and each one employed unique and memorable approaches. But all included elements of familiarity to give young viewers a handhold of connection and empathy, freeing them to accept and explore differences.

Taiwan’s top entries all came from the Fubon Cultural & Educational Foundation. 

• Having Fun in the Mountains (winner, 7-10 Non Fiction) follows along with two boys who face challenges while climbing a mountain, needing to rely on each other to make wise choices.
• By the Sea (2nd place, 11-15 Non Fiction) portrays a young surfer, opening with the words: “When I leave my house, all I see is water.” The director explained that, ironically for an island, Taiwan’s citizens have, at times, been prohibited by political conflict from going into the water.
• The Match (2nd place, 7-10 Non Fiction) profiles two brothers, both wrestlers, torn between their fraternal love and their competitive natures. A final match pits them against each other.

Latin American dramas took on challenging topics in stark settings.

• Days of Thunder (pictured, winner, Gender Equity and UNICEF Prizes) from Centro de Capacitación Cinematográfica in Mexico addresses the rarely discussed theme of menstrual hygiene. In a school with inadequate clean water, facing inaction from adults, a teen activist leads a movement to collect rainwater so students can use eco-friendly menstrual cups.
• Desert Lights (2nd place, 7-10 Fiction) from Chilean Volcánia Films presents a vivid visual and audible story set in a dry, dying town where migration is separating friends. The sound of young soccer players’ footsteps crunching on the water-parched dirt, and the sight of a hose dribbling dirty water, become seared into viewers’ memories.

All of these shows come from independent producers. Whatever markets you attend, you’re unlikely to see them, and the same goes for dozens more in the Prix Jeunesse competition and media bar.

Maybe you’ll never make programs like these; they might not work for your service or even your country. But when you see them at the festival, you’ll come away with new insights into the organically culture-crossing world of Generation Alpha. You’ll be moved to think in new ways about how to engage and inspire this audience.

There’s no question that, for a variety of reasons—budgets, carbon reduction, busyness of life—it’s become more challenging to travel to Munich for Prix Jeunesse.

But while lots of our work these days can be done online or on Zoom, there is no virtual substitute for immersing yourself in unique content, in the company of 400 other passionate children’s media professionals. Whether you work at a big global content company, at one of the world’s public service broadcasters, or as an independent creator, this is why it’s so vital to support and attend Prix Jeunesse. You have two years to plan your visit!

David Kleeman is SVP of Global Trends for Dubit, a UK-based metaverse studio and research/strategy consultancy.