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Salla Kozma | Founder | Executive Producer | Actor

@sallakozma

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🎬 Founder Executive Producer, Actor
📍Finland - Monaco 🇫🇮🇲🇨
Pig and Horse Productions: 👇🏼
My book: 👇🏼
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Reflections of Gauguin the feature documentary film coming to cinemas 🎬 directed by me and @anssirimpela edited and scripted in collaboration by @maarit__nissila filmed by @vsarvola with @eemilehto sound by @tomi_rajala produced by @poikelanbetoni masterminded & executive produced by @sallakozma @pigandhorseproductions distributed by @norsekeystudios @mariakivinen #documentaryfilm #artfilm #mipcom
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Just your average Wednesday night in Monaco 🤩
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The numbers are in, and they’re a great sign for female founders! Women-founded startups have been shown to generate 2.5× more revenue per dollar invested. That’s 78 cents for every $1, compared with 31 cents for male-founded startups. (BCG & MassChallenge) In the UK, 333 women now run businesses with revenues above £50M. That’s four times as many as two years ago, and together they generate £44.7bn and employ 285,000 people. (The Times) That’s what this research calls the decade of the female founder. Capital is still catching up. All-female teams receive around 2% of venture funding in the UK, 1.6% in Europe and 1.1%in the US. (PitchBook, The Times) We see that as the biggest untapped opportunity in venture today. The investors who move first will be the ones who benefit. At Naru Force Studios, we’re proud to be part of this new generation. Our company is founded and led by a woman, and we’re building IP as ecosystems at the intersection of media, AI and data. We build with discipline, think globally and focus on long-term value, which is exactly what the data says female-led companies deliver. To every woman building something right now: the numbers are on your side. Keep going. 💪 To investors: we’d love to talk. We are at MipCannes 12-14th Oct. @mipmarkets @sallakozma #FemaleFounders #VentureCapital #WomenInTech #MediaTech #AI NaruForceStudios
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A painting. A philanthropist. And questions nobody wanted answered. When Stefano Canepa bought Deux nus dans un pré, he expected to own a Gauguin. Instead, we followed a long investigation into who gets to decide what is ”real” in the art world, and what power, money and legacy have to do with it. That film is Reflections of Gauguin, and I’m bringing it to MIPCOM Cannes next week. It’s already travelling. We have a theatrical release in Poland, Hungary and the Czech Republic with Pannonia Entertainment, and @norsekeystudios and @mariakivinen is handling our European sales. Now we’re looking for broadcast and streaming partners who want premium documentary with a real mystery at its heart. If you buy art docs, true-crime or investigative stories, let’s meet in Cannes. 📍 MIPCOM Cannes | 12–15 October DM us for further discussion.
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Is the next asset class content? A year ago, Naru Force Studios was an idea and a conviction. Since then, @realscreen , @deadline, @c21media_ @worldscreen, @screenmdm, @financialtimes . Over 40 articles across the industry press and +4M views, not because we chased them, but because what we’re building is landing on the right radar. The industry is paying attention, and that tells me something. The conversation is changing. For a long time, investing in media meant financing individual productions. But that’s not what Naru Force Studios is. What we’re building is fundamentally different: IP that is designed to travel. Across platforms, across formats, across years. IP built around audiences we already understand — people who are already there, already engaged, already telling us what they want. The audience isn’t a guess at the end of the process. They’re where we start. That changes the risk architecture entirely for the investors. The return drivers of audience-owned IP are not interest rates or economic cycles. What matters is whether people want to watch, listen, participate, follow and whether you own the relationship when they do. One audience relationship, built properly, generates revenue across streaming, live events, brand partnerships, licensing, data. It compounds. It scales. It doesn’t reset to zero after a release weekend. This is what serious investors are beginning to understand: the question is no longer only what content to finance. It’s what IP and audience relationships to own and who participates as a successful idea moves from one platform to the next. We are building the answer to that question. And the world, it seems, is starting to notice! You can find us at MipCannes 12-14th OCT! @mipmarkets 👏🏻 @nj_westwood @sallakozma Beatrice Rossmanith
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🔥 For a long time, backing content meant financing a single production and hoping it found an audience. That was one bet. That model carries a specific kind of risk, because the audience is always the last variable. A guess dressed up as a greenlight. At Naru Force Studios we build the other way around. We start with the audience. Before we develop a format, we know who they are, where they live online, what they want, and how they move across platforms. They’re not a demographic we’re pitching to, they’re an active part of what we’re creating. The IP grows from that relationship, not the other way around. This changes the risk profile entirely. A one-off production is a financing exercise. IP built around a known, engaged audience is a compounding asset. One that can travel across formats, generate revenue across multiple platforms, and grow in value over time, independently of interest rates or theatrical windows. The real question for media investors isn’t just what content do we finance. It’s what audience relationships do we own and who participates when a successful idea moves from one platform to the next. That’s the architecture we’ve built Naru Force Studios around. And it’s why we believe this is a fundamentally different kind of opportunity. #media #tv #streaming #film #investing
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Naru Force founder @sallakozma Actor. Then Filmmaker. Now building a media-tech company. Not a pivot, but twenty years compounding. People ask why Naru Force Studios, why now, why Monaco. Simple: the window is closing for people who wait. I think about that every time I talk to investors. Companies built in 2026 are structurally different; not smarter founders, but tools that finally match the ambition. We build with AI as infrastructure, audience ownership baked in from day one. Our flagship: K-Pop Olympics. A pan-European, social-native competition format, not a TV show with a TikTok, but the reverse. That distinction is everything. 250 million K-Pop fans in Europe are already voting, streaming, spending, with no proper arena. We’re building it. Multi-platform, AI-enhanced, audience-owned. You don’t need a network deal to validate a format anymore. You need audience signal. We have it. That’s what smart investment looks like now: not waiting on broadcasters three years behind culture, but backing founders already building where the audience is going. The proof of concept is live. The audience is waiting. Now we need investors who speak the same language and who see how IP ecosystems like Naru Force Studios scale into massive value. Meet us at @mipmarkets MipCannes 12–14.10 🪇 with Beatrice Rossmanith #media #content #tv #film #streaming
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What an insane year in media, events and speaker gigs! We must be doing something right. Over 39 pieces in media and +4B views on them 👀 Follow us to see where we are heading to! @senalnews @c21media_ @kidscreen @realscreen @deadline televisual @yahoonews @imdb @eventconecta @contentlondon @createlondonfestival @aifilmfestmonaco @waibsummit @worldscreen @formatbiz @mad__tech_ @financialtimes @percywarrenpr @sallakozma @mipmarkets
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The next media fortunes won’t come from chasing hits. They’ll come from owning the infrastructure behind them. Naru Force Studios is building IP as an ecosystem — media, AI, and data working as one engine, not three separate bets. That’s where the smart capital is heading. 🎯 Meet us at @mipmarkets MipCannes 12.-14. Oct #NaruForceStudios #MediaInvesting #FutureOfMedia #IPOwnership #MediaAndAI
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Kpop anyone? Over the past year we’ve met more distributors, broadcasters, investors, business angels, tech companies and media companies than we can count. The interest is there. Everyone sees the opportunity. But the road and especially the trust is earned slowly and I’ve learned to be okay with that. A year of concept development and product planning with our own money. Conversations with some of the best investors and business developers in the world, who helped me stress-test what Naru Force Studios is really building and why the scalability in this model is unlike anything I’ve seen in media. We are not coming from nowhere. Our Naru Force Studios team with Beatrice Rossmanith and NICK WESTWOOD is a diamond league, they have worked with big hit shows, their track record is seriously impressive. In the next few weeks, we close our K-Pop Olympics seed round. And after that? We close a deal with a global broadcaster for the linear version of the format. The big ones are mid-merger, mid-reorganisation; the landscape is shifting fast. We’re not rushing. We’re looking for the right home, not just any home! One year. Hundreds of meetings. Dozens of media articles and interviews, events, panel discussions and invitations. A bag full of opportunity for investors and partners who dare to look at new business models. Keep showing up, that’s the only way to go 🙌🏻 If you are looking for new a new global talent show, meet us at MipCannes 12.10.-14.10! @nj_westwood @sallakozma
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Naru Force is in full action! Building, developing, networking, getting it all there step by step. BUT WHO ARE WE? Naru Force Studios: A new kind of media company? Yes. We are not a traditional production company nor purely a tech platform. We sit at the intersection of those as we fell that is the most interesting position for where businesses in media are being built right now. We work across five layers simultaneously: 1 Content Creators; we develop original formats and IP with long-term franchise potential, not one-off productions. 2 Producers; we build structured production pipelines, integrating AI tools to reduce cost without reducing quality or creative ambition. 3 Technology & Data; we develop proprietary tools that create strategic advantage: in matching brands to content, in understanding audience behaviour, and in forecasting. 4 Distributors & Commissioners; we think about the distribution architecture for an IP from day one: embedding rights, release windows, and platform strategy into the development process. 5 Long-Term Value Providers; we are building an ecosystem, compounding value over time, for our partners, our co-producers, and our investors. See you in Monaco, London or in MipCannes? Would love to talk what we could do together 🪇 @mipmarkets
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Link in bio! Thank you @raindancefilmfestival for letting me speak about our first Pig and Horse Productions documentary film Reflections of Gauguin! We will be at MipCannes 12.-14.10. with Norsekey Distribution and @mariakivinen @norsekeystudios and more than happy to talk about this wonderful film! @mipmarkets @anssirimpela ”Turning art into a thriller The creative challenge was to make a story about art history and forensic research feel immediate and emotionally engaging. When the mystery is whether a painting is genuine, we had to make sure that this tension came across in a tangible way. We aimed to bottle this feeling through peeling back layers of evidence, and crucially, hearing from the people who interpret it. This is where investigative art documentaries can borrow from the language of the cinematic thriller. The suspense does not necessarily come from danger, but from uncertainty: what will we discover next, whose version of events will prove credible, and will the evidence change our understanding of what we are looking at? In Reflections of Gauguin, commentary from art crime specialist Noah Charney and Dr Pauliina Laitinen forms part of this process, bringing different areas of expertise into a conversation around the evidence and competing interpretations. But the wider opportunity for the genre lies in recognising that the investigation itself can be as compelling as the conclusion.”
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