Professional Documents
Culture Documents
Brazil is currently living through a constitutional crisis. Under this illegitimate government, acquired rights
regarding education, public health and labor are under attack. Brazilian cinema, specially art house films, is
particularly threatened by such attacks. ANCINEs (National Cinema Agency) board of directors is currently
renewing 2 of its 4 members, and a lot is at stake with these nominations.
Brazil is proud to be a gigantic ethnic, gender, racial, cultural and religious melting pot. The awareness of
this plurality is a keystone in contemporary thinking of educational, economic and cultural programs for the
country.
Brazilian cinema and other visual arts policies have given much consideration to this factor. In the last few
years ANCINE has focused its attention in this wide variety of different Brazils, amplifying its support
mechanisms that now reach several distinct cultural segments, ranging from auteur cinema to videogames;
from TV series to commercial films; from the development to the distribution of a variety cultural works.
The results are visible. In 2017 Brazilian films conquered an expressive participation in International
Festivals, totaling 27 films being presented at Sundance, Rotterdam and Berlin film festivals. A lot of
planning and continuous dialog between ANCINE and the film professionals were necessary to reach this
accomplishment. Two specific policies that resulted from this effort should be highlighted:
First, the creation of a law that requires cable TV channels to exhibit a minimum of 3 and half hours of
Brazilian programming during prime time. Second, the establishment of the Audiovisual Sector Fund (FSA),
which generated investment in a wide array of different audiovisual works in every stage of development.
Amongst its achievements, the FSA generated the decentralization of cinema production - away from the
Rio-So Paulo axis -, the renaissance of national public TV programming, the production of foreign reaching
films, as well as international co-productions.
As a result of these actions, the growth of the audiovisual sector reached 8.8% in 2016, a much higher
increase than the Brazilian economy in general, generating an added value of 0.54% to the national GDP (this
contribution is higher than, for example, the Pharmaceutical, Electronic or IT industries).
This progression still leaves a lot of room for improvement, such as fine-tuning policies to generate a bigger
impact on gender and racial representation, as well as allowing for a more inclusive swatch of the
population to be engaged in the cinema production chain. Another much needed improvement is an
increase of investment in the ever-expanding Brazilian audiovisual library, to improve both access and
conservation.
We have come this far thanks to the concerted effort of public servants, producers, directors, distributors,
exhibitors, programmers, artists and unions leaders, and we need to protect these accomplishments at all
costs. Above all we want to make sure that any changes on these policies are debated openly within the
audiovisual sector as well as the Brazilian society as a whole.
Therefore we ask the institutions, producers and filmmakers from all around the world for support in our
fight to protect these policies. We strongly believe in the continuity and strength of this communal vision
that has brought us so far, and firmly believe that it can carry us further beyond.
---
Brasileirxs
Nome
Profisso
Forumdoc.bh Festival
J Serfaty Diretora
Z Jos Diretor
Adriana Borba
Ana Moravi
Analu Bambirra
Bianca Prunes
Bruno Carboni
Dandara Ferreira
Glauco Firpo
Joo Borges
Joaquim Castro
Leo Tabosa
Liliana Sulzbach
Marcela Bordin
Marcos Lopes
Marcus Nascimento
Maria Byington
Maria Galant
Paola Vieira
Renato Falco
Rene Nader
Rita Zart
Roberto Cotta
Tiago Bello
Fora do Eixo
Internacional
Nome Profisso
Chris Stults Curator, Film/Video - Wexner Center for the Arts - USA