By: Luis Nassif
As of last week, 22 million movie tickets have been sold for films produced in Brazil, taking to account the first week’s box office for My Past Condemns Me, which debuted in second place, with the second biggest box office of the year today.
Why? Manoel Rangel, CEO of Ancine — the National Film Agency –during a Brasilianas debate on creative industries tries to explain.
By the end of the year, Ancine expects to surpass its best performance to date, with 25 million tickets sold, 11 million of which were sold to Elite Troop 2.
Up until three years ago, the film distribution market was dominated by foreigners. This year, the independents account for 90%.
Further along in the supply chain, there have been advances as well, after a period during which cinemas were taken over by evangelical sanctuaries. There will be 2,800 cinemas by the end of the year and a prediction that this figure will reach 3,500 by 2015 — a growth rate that Ancine considers timid in relation to the recovery of audience in central nations.
The year will end with 100 Brazilian movies in the marketplace — 300% more than in 2003.
The policy for the recovery of the Brazilian film industry has the following key points:
1. Creation of Ancine em 2001. Along with managing existing policy, it served as a policy forum, as a space for intelligent minds to think of strategies.
2. In 2006, a law was passed that empowered Ancine’s regulatory capacity and its access to data from the market. A Sector Fund for Audiovisual Production was created, returning to the state some of its capacity to invest in the sector.
Transation to resume …
3. Law 12485, the Law of Pay TV, after broad debate in Congress over digital convergence. Regulatory barriers to the expansion of Pay TV were removed. Pay TV has undergone a cycle of expansion, with 4.5 million subscribers in 2004 and 17 million in August 2013. Estimates are that this will rise to 30 million by year end 2016. One effect of the Law of Cable TV was to strengthen independent producers. For the first time, there is space for domestically produced programming.
With these maneuverings, production of audiovisual content rose from 400 to 2,000 hours of production per year.
4. Law 12.599, “Cinema Close to You,” brings fiscal incentives and a mechanism for the defense of the Brazilian advertising industry, in order to strengthen demand for the video advertising market.
The shift in market share for film distribution has become a classic case.
It began in 2004, with the creation of a finance channel It picked up momentum in 2008,with the Sector Fund for Audiovisual, which transformed distributors into financial agents of film production.
There are also independents who working specifically in the DVD market, some of them performing outsourced services for the big international studios.
The results of these policies hs been to shift attention from foreign films to home-grown projects. That is what happened with Paris Filmes
Nowadays, some of these distributors work exclusively with the Brazilian industry with titles such as Dowtown, Europa, Playart and California.
It remains to be seen how this model behaves with the advances represented by the Internet and digital convergence
Filed under: Brazil