Brazil’s Cinema Landscape: A Resurgence
**EXCLUSIVE:** In an era where box office revenues seem to be on the decline, an **ironic truth** emerges: the struggle against cinema itself highlights its profound importance. Take the case of Jair Bolsonaro, Brazil’s former far-right president. On his inaugural day, after a campaign emphasizing **defense**, **crime**, and **financial deregulation**, he opted to **disband the Ministry of Culture**, effectively merging it into a more authoritative **Ministry of Citizenship**. This decision instigated a series of attacks against **Brazil’s cultural sector**, particularly targeting cinema. National cinema organizations faced substantial cuts in funding, and **censors** were imposed on publicly financed projects, resulting in a crippled film culture throughout the nation.
“We found a **wasteland of investments**,” said Margareth Menezes, a prominent figure in Brazil’s music scene, now appointed as the head of a revitalized **Culture Office** created in 2022 following the election of **Inácio Lula da Silva**. Menezes, often hailed as the **queen of Brazilian Afropop**, is at the forefront of this cultural revival.
“With the resumption of the Ministry, we needed to **restructure public policies**,” Menezes explains. “For 2023 and 2024, nearly **R$4.8 billion** from the **Audiovisual Sector Fund** and related incentive laws managed by the **National Cinema Agency (ANCINE)** are set to bolster local productions.”
In short, Brazil is **reentering** the global film landscape, with Menezes advocating for its revival at **Cannes**, where two Brazilian films, **Kleber Mendonça Filho’s “The Secret Agent”** and **Pedro Pinho’s “Laughter And The Knife,”** are competing. Brazil is also celebrated as the **Country of Honor** at the Cannes Marché.
Insights from Margareth Menezes
Below, Menezes discusses the process of rebuilding Brazil’s film industry, emphasizing sustainable investment in **local productions**, the nuanced task of regulating streaming services, and what lies ahead for Brazilian cinema.
DEADLINE: There’s immense excitement surrounding the Brazilian audiovisual industry following the success of ‘I’m Still Here’. How do you feel?
MARGARETH MENEZES: The strength of Brazilian audiovisual production has significantly influenced the **international film landscape**. The rise of prominent broadcasting networks, including the renowned **Rede Globo**, celebrating its **60th anniversary**, has undeniably contributed to market expansion. Our recent accolade at the **Oscars** marks a milestone, attracting worldwide attention and paving the way for more Brazilian films and artists to be recognized on an international level.
Brazil is rich in diverse stories and experiences, nurturing a population of over **212 million**. We must continue investing in our sector to empower artists, facilitating their creative endeavors within Brazil. Moreover, we are highly optimistic about **”Secret Agent,”** directed by **Kleber Mendonça Filho** and headlined by the talented **Wagner Moura**, representing Brazil in the prestigious **Palme d’Or** race at Cannes.
Government Investment and Its Significance
DEADLINE: The federal government has pledged **BRL 1.6 billion** in the audiovisual sector. Why was this investment deemed necessary?
MENEZES: The survival of the Brazilian film agency, **ANCINE**, through aggressive opposition from the previous administration speaks volumes about our determination. Upon entering office, the chaotic state of investments was daunting. Allocating this historic **R$1.6 billion** aims to reinforce Brazilian films and series, enabling us to fortify our national audiovisual content in both domestic and international markets. This is essentially a **rescue operation** for our sector.
Reviving the Audiovisual Sector
DEADLINE: Given the major setbacks under the previous administration, what actions did you take to revive the sector?
MENEZES: The previous administration’s neglect towards the audiovisual sector mirrored its treatment of wider cultural policies. Upon resuming the Ministry, we set about **restructuring** public policies to appropriately address the sector’s challenges. This included reviving the **Screen Quota Law**, ensuring that Brazilian productions have a designated space in cinemas. We are also launching **Tela Brasil**, a free platform featuring a **100% national catalog** later this year, further enhancing our commitment to local productions.
Regulating the Future of Streaming
DEADLINE: There’s an ongoing discussion regarding how the government may regulate VoD and streaming services. Is this a priority for you? What specific regulations are you advocating?
MENEZES: We are currently working on two legislative proposals aimed at **regulating streaming services**. The **Ministry of Culture** is advocating for a revised framework for both bills focusing on key regulatory factors such as the protection of **copyright** and **property rights** of independent Brazilian productions. We also aim for measures ensuring visibility and market share for Brazilian films as well as a **VoD levy** of at least **6%** on gross revenues of these platforms to support local content.
Regulation is pivotal not just for our industry’s preservation but for ensuring **workers’ rights** and our **national sovereignty**. It’s essential that we create an environment that supports producers, financiers, and consumers alike. Our vision is to establish fair regulations rather than imposing excessive taxes.
The Vision for Brazilian Cinema
DEADLINE: What are your aspirations for the future of Brazilian cinema?
MENEZES: The **Ministry of Culture** is committed to a series of progressive measures for the audiovisual sector. One of the significant undertakings is the upcoming **New Plan of Guidelines and Goals**, a comprehensive ten-year vision for audiovisual policies. It is my hope that Brazil continues to be acknowledged as a powerhouse of high-quality film production. Our cinema is not only **powerful** and **diverse** but also demands and deserves global recognition.