Current Success of National Cinema Reflects Years of Investment in the Sector

Brazilian cinema has achieved international acclaim through strategic policies and consistent effort, a result industry professionals attribute to decades of development. Leonardo Edde, president of Riofilme, expressed his enthusiasm for Brazil's current cinematic success, stating, "Our cinema is in a great place right now, with more ups than downs. We’re trying to make this momentum last." Recent successes, ranging from Oscar wins to recognition at Cannes and Berlin Film Festivals, highlight the diversity of Brazilian filmmaking. Edde believes maintaining this momentum requires sustained government support to ensure long-term growth without interruptions. He is confident that Brazilian cinema will continue to excel, thanks to its talent, and anticipates that international recognition will also boost sectors like tourism and industry. "Audiovisual is a major industry," he noted. While Brazil is progressing, Edde acknowledges that structural challenges remain and stresses the need for continued momentum and greater internationalization, building on a strong domestic market. Edde emphasized that the government's role extends beyond funding film production to include distribution, promotion, and support for cinemas: "Movie theaters are still the best place for a film, and it’s our job to look after this whole system."

Brazil's successful cinema scene benefits from policies like the Audiovisual Sector Fund (FSA) and the Rouanet Law. While the Rouanet Law supports specific areas through tax breaks, such as short films, medium-length films, and cinema construction, feature films primarily rely on the FSA.

Film critic Flavia Guerra views the current attention on Brazilian cinema, driven by films like The Secret Agent, as representing more than just immediate box office success. "We’ve been building up to this for years, thanks to state policies," she noted. However, Guerra points out that international acclaim does not always translate to large audiences, particularly with the rise of streaming services and lingering effects of the pandemic. "It’s tough getting Brazilian films into theaters and keeping them there, but we’re gaining prestige. People are starting to expect to see Brazilian films at multiplexes." She further emphasized the broader economic impact of the audiovisual industry: "Don’t throw in the towel on audiovisuals—they support a whole bunch of jobs, from truck drivers to catering, from accommodations to local shops... It’s a real industry," citing South Korea as an example of successful development in the sector.

Strengthening Global Perception of Brazilian Cinema at Berlin Festival 2026

Brazil had a strong presence at the 2026 Berlin Festival. The following Brazilian films were selected for the festival: Feito Pipa (Gugus World), directed by Allan Deberton, in Generation Kplus. Papaya, Brazil's first animated feature selected for the festival, by Priscilla Kellen, also in Generation Kplus. A Fabulous Time Machine, a documentary by Eliza Capai, completing the Brazilian lineup in Generation Kplus. And If I Were Alive Lived, by Andre Novais Oliveira, in Panorama. Guerra considers this strong showing evidence that Brazil is more than a "one-hit wonder" and is becoming a significant force in cinema. She appreciates how these films resonate with young audiences and address contemporary issues in innovative ways. While awards are influenced by many factors, the key is to ensure Brazil gains recognition for its diverse and sustained cinematic output, not just individual successes.

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