The PRIX JEUNESSE INTERNATIONAL 2026 Preselection Report
In mid-January, a high-caliber jury of children’s media experts met in Munich to review the entries and decide which ones would advance to the final round of PRIX JEUNESSE INTERNATIONAL 2026. A remarkable 375 programmes from 51 countries were submitted in the main TV categories, reflecting a truly global spectrum of talent and creativity.
To manage this exceptional volume of entries, PRIX JEUNESSE for the first time had introduced a first-round judging process. This initial round took place entirely online and involved 42 judges, working in 21 teams of two. The goal was to significantly reduce the number of programmes screened during the main pre-selection, while ensuring a careful and balanced evaluation of all submissions.
Following this first round and after five intense days of viewing and discussion, the main jury had finished their challenging task. 66 exceptional shows from 23 countries were selected to compete for the prestigious awards. They will be screened during the Munich festival week from 29 May to 3 June 2026. All festival attendees can join the voting on the winning programmes.
Below you’ll find reflections from the jury members on the individual categories – offering a behind-the-scenes look at the intensive five days of viewing, debating and appreciating the outstanding work we have received from around the world.
Category Up to 6 Fiction
by Marney Malabar, Creator of educational content for children, Canada
Jury members for Up to 6 Fiction identified several clear patterns across this year’s Prix Jeunesse submissions. Understanding the wonders of Space was a common setting, friendly spiders popped up repeatedly as characters, while intergenerational family life—bringing preschoolers and seniors together in everyday settings—also emerged as a strong recurring theme. Many programmes additionally explored how children use hands-on technology to stay connected with family and friends in their daily lives.
Supporting children in understanding and managing their emotions was one of the most prevalent themes. In fact, more than half of the programmes screened focused on children learning to handle their feelings. In some cases, emotional literacy was the primary learning objective; in others, it added an extra layer of narrative complexity through characters actively working through their emotions.
Jury members consistently emphasized the importance of programmes authentically connecting with their intended audience. The developmental differences between children aged 2–4 and those aged 4–6 are significant, making this category particularly challenging. As the jury noted, a one-size-fits-all approach does not work.
This year’s submissions included noticeably fewer live-action dramas than in previous years. Jury members questioned whether this decline reflects the high production costs associated with drama, or whether gatekeepers assume that young children no longer have the attention span for longer-format programming. The dramas that were submitted struggled to balance storytelling with the literacy levels of emerging readers. Several relied on close-up shots of handwriting or on-screen text messages to convey key plot points—moments the jury felt would likely be lost on most “Up to 6” viewers, who do not yet read independently.
One of the boldest entries in the category tackled the sensitive and rarely addressed topic of weaning a child from breastfeeding. This animated programme reminded the jury that even the youngest children face challenging transitions as they grow. By approaching the subject with humor and beautiful artwork, the programme demonstrated how complex developmental milestones can be made accessible and reassuring for very young audiences.
Humour was notably more prevalent in the Up to 6 Non-Fiction category, something jury members wished were true across all programmes submitted for this age bracket since hearing children laugh and giggle is one of life’s great joys. At this age there is never a shortage of opportunity—or need—for programmes that truly balance learning with laughter, especially in the times we are living in.
Category Up to 6 Non-Fiction
by Pin Leng, Director General, Fubon Cultural & Educational Foundation, Taiwan
Jury members for Up to 6 Non-Fiction welcomed the strong presence of observational documentaries that attentively followed young children in moments of exploration, free play and everyday discovery. These programmes conveyed children’s curiosity and joy with authenticity, allowing the audience to experience the world from a child’s perspective.
The titles that stood out, however, went beyond observation by actively inspiring children to explore and participate. Whether through imaginative framing—such as turning a family travel documentary into a playful pirate treasure hunt—or through thoughtfully designed intergenerational encounters, including shared hands-on games with seniors, these programs offered young viewers concrete ideas they could carry into their own lives.
Many programmes in this category successfully employed humor and comedic timing to support young viewers’ understanding of numeracy and early mathematics. From the sensitive integration of sign language into animation, to the playful chaos of puppet-led humor and familiar animated formats that introduced unexpected and witty twists, these works refreshed the genre and demonstrated new and engaging approaches to early numeracy learning.
Jury members also discussed returning IPs and established formats in the competition, welcoming the sense of development and renewal shown when these projects re-entered with a new shooting approach or a refreshed narrative strategy. Such evolution demonstrated how familiar concepts can gain new relevance through formal and creative reconsideration.
More broadly, the jury noted that this year’s submissions leaned heavily toward documentary, daily-life education and information-based formats. While many programs were strong in content and intent, the overall range of genres felt relatively concentrated, leaving room for greater formal and structural diversity in future editions. As well, there appeared to be a lack of submissions that were live-action, host-led programs set in a studio or real-world environment that addressed the world we live in and/ or children’s love of animals.
Category 7-10 Fiction
by Giselle Geney, Children’s Media Producer and Participation Producer at eureka, Colombia
The 7-10 Fiction category was the one with the highest number of submissions in this preselection round. Over several days, we had the opportunity to watch and discuss approximately 70 fiction productions from 24 countries, representing a wide range of cultures, storytelling traditions and perspectives on childhood.
Given the large volume and diversity of submissions, we are certain that the Media Bar holds many true gems: thoughtful, creative works that, despite not becoming finalists, deserve to be discovered and celebrated. The selection process was demanding and each piece was approached with care, enthusiasm and deep respect for its creators.
One of the most encouraging aspects of this category was the balance between drama and comedy. Comedy was as present as drama and often played a crucial role in opening spaces for learning, reflection and emotional connection. We particularly valued works that explored language, the concept of “time”, empathy, social behavior, or even taboo subjects through humor, playfulness and inventive formats, avoiding pedagogical approaches that feel overly explicit or instructive. Learning was most effective when it emerged naturally from the story and the characters’ experiences. And of course, a bit of humour never hurts!
Across the selection, there was remarkable bravery in addressing difficult topics from a child’s point of view. Stories did not shy away from grief, old age, death, vulnerability, or fear. Many creators explored how to speak honestly with children about loss and change, offering sensitive and often beautiful narratives that respect children’s emotional intelligence.
Similarly, we encountered courageous approaches to online and offline grooming, sexual abuse and personal safety. These topics were addressed using a variety of narrative resources—not only drama, but also hybrid forms—often supported by strong performances and thoughtful framing. Bringing these realities to the foreground, in age-conscious and respectful ways, felt both necessary and meaningful.
Science fiction, fantasy and stories engaging with technology and digital life were strongly present. Rather than imagining a single future, many works explored multiple possible futures, often dystopian but frequently leaving room for hope, connection and collective care. These narratives raised compelling questions: What does productivity mean? What happens to creativity, connection, or artistry in a world shaped by artificial intelligence? What kinds of futures and communities do we want to imagine? In this sense, media literacy emerged as a central concern: stories invited young audiences to think critically about technology, information, visibility and agency, aligning closely with the core questions of the PRIX JEUNESSE’s theme for 2026. We found these reflections especially valuable when grounded in adventure, relationships and emotional truth.
Representation was another key area of richness. We appreciated stories offering nuanced, three-dimensional portrayals of both girls and boys, allowing space for vulnerability, sensitivity, courage, doubt and growth. New masculinities and complex female experiences appeared naturally, without being framed as exceptional or didactic.
Family relationships, between parents and children, siblings and grandparents, were often central. Many stories highlighted the importance of listening to children, acknowledging their perspectives and showing care through presence and accountability, including moments where adults recognize mistakes and repair relationships.
Overall, the discussions throughout this category were engaged, thoughtful and deeply rewarding. Selecting the finalists was challenging and every decision was the result of careful viewing and collective reflection. We hope these stories spark meaningful conversations, inspire care and curiosity and continue to nurture the deep connection between children, creators and the worlds imagined for them.
Category 7-10 Non-Fiction
by Florencia Donagaray, BBC Children’s – Uruguay/UK
I’m afraid I will have to start this text with a very unoriginal line: selecting the PRIX JEUNESSE finalists is truly and incredibly hard! No matter how confident you are, or how much children’s TV one has made or watched, certainties and preconceptions tend to evaporate when looking at a programme under the lens of the festival’s guiding principes: “Is this innovative?”, “Is it filling gaps?”, “Is this for children or about children?”, among other very useful and difficult questions.
However, there was one question that was perhaps the one that surfaced the most in the post screening discussions: “Will children REALLY watch it?”
What’s incredibly useful about that question is the capital letters for REALLY. It’s almost like an invitation to stop, reconsider your own personal opinion, swallow your biases and attempt to look at the content with the audience’s sensitivities in mind. No mean feat.
Children have never watched more content than now, but the content they are looking for is increasingly absent from TV. And whilst there are many reasons behind this (platforms, discoverability, algorithms, etc.), from a purely creative perspective, the gap between what broadcasters are commissioning in the non-fiction space and what children are watching seems to be growing. Of course there are safety issues, of course there are concerns around content creators that put profit over the wellbeing of their followers… The dangers of unregulated content are serious and the importance of safe, curated programming is an essential counterbalance – we know that.
That said, platforms are brimming with ideas, fresh storytelling, surprising places to put a camera, funny ways of using music and sound effects, unpredictable editing… We wondered if the children’s TV sector is doing enough when it comes to encouraging new voices and also looking more into the digital space to see what elements can be borrowed in favour or making surprising and captivating programmes. There’s a thirst for content – how can programme makers tap into it?
Duration was another big topic during the pre-selection process. We saw shows that had a good premise but didn’t quite manage to sustain the promise and the pace for that long. We found ourselves wishing that a lot of the programmes had been shorter, to deliver a punchier and more satisfying experience for the viewer. Again, this feels like another divide between the digital world and the linear space, where broadcasters have schedules to fill. But are we losing audiences by not being more flexible with slots?
So, throughout the preselection process, form and format was very much at the forefront of the discussions. All the finalists have elements that we hope kids would enjoy and that we think will spark enriching debates regarding how to tell stories in a world that’s saturated with content.
Here are some highlights from the programmes that made it as finalists.
- Laughter can come from unexpected places – although we didn’t see much comedy (when we know children crave laughter so badly!), there are a couple of good examples that do a great job at bringing joy from unexpected places.
- Children and nature as one – some nice examples of programmes that show children completely immersed in nature, with little to no adult mediation. While in some cases the children were in complete control of what was happening, confidently owning the space, there are some programmes which show kids going through transformative experiences that have the power of forever touching the viewers’ hearts.
- Research, research, research – there are some great shows that deliver really effective messages in a child-appropriate way thanks to an exceptional understanding of the subject matter and how it affects the audience.
- Science and creativity (but make it different!) – some titles provide fresh approaches to well-known subjects. Art, crafts and crafty science have made an appearance in this year’s selection.
We hope every finalist provides something memorable that will light a spark in you or in the discussions with colleagues. Enjoy!
Category 11-15 Fiction
by Giselle Geney, Children’s Media Producer and Participation Producer at eureka, Colombia
The 11-15 Fiction category gathered the full Pre-Jury around a carefully curated selection of approximately 30 productions from a diverse range of countries, including works from across Europe, Latin America, Asia, Africa and the Middle East, offering a broad look at how adolescence is currently being portrayed across cultures. Within the fiction categories, this one received the lowest number of submissions, a fact that feels meaningful in itself: it highlights a demographic that urgently deserves more attention, care and creative investment from the children’s and youth media sector. Being discussed collectively, the selection benefited from a wide range of perspectives, sensibilities and points of view, enriching the conversations around each work.
One of the most encouraging aspects of the selection was the variety of genres and formats explored. Across the programmes, we encountered comedy, drama, thriller, science fiction, mystery and horror, as well as hybrid approaches and formats developed through co-creation with teenagers, where their voices, humor and concerns directly shaped the stories and performances. This openness to genre, tone, narrative structure and process felt particularly valuable for this age group, even when not all explorations resulted in finalist-level works. Comedy, in particular, emerged as a powerful way of connecting with teenagers, allowing laughter at the awkwardness and contradictions of growing up to create spaces of recognition and closeness. The finalists stand out as the strongest executions within this diversity of genres, while the wider selection reflects a field in active exploration.
A central thread across many titles was the focus on relationships between peers, which are crucial during adolescence. Stories engaged deeply with friendship, first love, desire, jealousy, loyalty, shame, anger, identity and belonging. Several finalists in particular explored first romantic relationships, including the recognition of toxic dynamics, control and emotional manipulation, offering young audiences tools to question and name these experiences. We appreciated portrayals of teenagers who feel real: young people who make mistakes, contradict themselves, act impulsively and learn through experience rather than moral resolution. These narratives allowed space for emotional complexity without simplifying the adolescent experience.
Themes of loss, grief and death were also present in meaningful ways. Some works approached these topics with sensitivity and restraint, trusting silence, atmosphere and metaphor rather than explanation. We valued stories that created space for contemplation, using sound design, music, or moments of environmental listening to invite reflection. Music, in particular, played a key role in several productions, helping to connect emotionally with the audience and anchor inner states that are often difficult to articulate at this age.
Technology and digital life were also present, not as speculative futures, but as part of teenagers’ everyday realities. Several works explored how young people navigate visibility, pressure, intimacy and decision-making in relation to digital tools and platforms. In this sense, media literacy emerged organically, grounded in lived experience rather than instruction and closely connected to questions of agency, responsibility and self-image.
Representation was another strong element throughout the category. We valued nuanced, three-dimensional portrayals of both young women and men, allowing space for vulnerability, uncertainty, strength and growth. Across the selection, cultural identities were portrayed in ways that felt rooted and lived-in: stories that speak from within their communities, woven naturally into the characters’ worlds and everyday experiences.
While adults were present, the emotional center of the stories remained firmly with the young characters. When adults appeared, they were often portrayed as imperfect, learning figures rather than fixed authorities, allowing adolescents’ perspectives, choices and relationships with one another to remain at the forefront.
The collective discussions around this category were focused, generous and rigorous. Reaching the final selection required careful comparison, debate and shared responsibility across the full Pre-Jury. Beyond the finalists, the Media Bar offers additional works that broaden the landscape of how adolescence is being portrayed today. We hope this category invites continued attention to this age group and encourages the creation of stories that engage teenagers as active viewers, capable of being challenged, unsettled, genuinely involved and also of laughing at themselves and the experiences that shape who they are.
Category 11-15 Non-Fiction
by Florencia Donagaray, BBC Children’s – Uruguay/UK
It is known that the children’s TV industry in the West has been hit quite badly in the last few years. Either because of diminished investment from broadcasters, or institutional fragility and political changes within some public service channels across thew world. It hasn’t been easy for the sector, and it shows.
Whilst we saw some great content (mainly within the observational documentaries genre and a handful of studio shows as well) we didn’t see much in the way of surprising, original formats. This isn’t new – it’s a trend that we have been observing for a while now, but this year it has become even more apparent. Have broadcasters given up on developing new formats for teens, or could it be that there is a feeling that this audience is well-served through family-oriented shows? We know non-fiction is capable of doing what other genres could only dream of: bringing the family together, co-viewing! So perhaps there is a diminishing need for broadcasters to commission factual content for teens? Either way, judging from the programmes we had a chance to watch, the overall lack of investment in content for this age group was palpable.
That said, there are some exceptions. We found some very interesting approaches to media literacy – a brave and creative attempt at tackling AI chatbots and teen mental health, a comedy format about tech bros and an incredibly well researched and scripted show exploring critical thinking and bias. This was refreshing to see, as media literacy is probably one of the biggest challenges for young audiences, and we know that teens do respond well to formats that manage to tackle potentially heavy subjects in engaging ways.
News was another interesting genre. We saw quite a few news programmes for this age group, from different corners of the world. And, in principle, it would make sense to try to attract this audience through news when, over the last couple of years, there’s been a sharp rise in this content being consumed by teens on social media. So the appetite is there… but how is TV responding to that need? We were left wanting to see more relatable ways of connecting with the audience. Feels like there is fertile soil to experiment with storytelling and formats in this space, looking for fresher and more compelling ways of attracting with an audience that is indeed hungry to make sense of the world they are living in.
Unsurprisingly, duration was again a recurring topic. Just like in the 7-10 category, we saw several programmes we wished had been shorter. At this age, kids and teens are in control of what they watch and, if they have the chance to watch something else, they will do it the moment a show loses momentum. Not all ideas lend themselves to traditional broadcast slots. And whilst it’s true that if a programme is good duration isn’t necessarily an issue, we felt that only a limited number of titles could successfully deliver a satisfying experience from beginning to end within its running time.
Excitingly, we also had the privilege of watching some beautiful observational documentaries. We saw some very simple yet captivating stories, with very intuitive camera work that beautifully captured seemingly small moments or gestures that are worth a thousand words. Topics like falling in love, exploring sexuality and gender identity -with no educational aim or agenda other than letting a teenager be-, cultural identity, male friendship, gender stereotypes and gender roles.
We were also pleasantly surprised by the number of films that made an attempt at portraying different contexts and ways of living. Only a handful of these programmes made it to the final selection, but we sure debated about which ones to bring forward, as there were different elements that we enjoyed across quite a few of these docs.
All of the documentaries that have made it to the final provide an interesting approach to the themes and characters they explore. There are some powerful moments of authenticity within the finalists that will go straight to the heart, with the rawness that only teens can deliver.
We hope festival goers can enjoy the selection and be touched by some of the precious moments captured within the finalists.