Industry Report: Focus: South America
16/06/2011 - Articles, interviews, news, analysis focusing on the audiovisual sector in South America.
The internet has been buzzing about Filly Brown. The film starring Gina Rodriguez, Lou Diamond Phillips, Edward James Olmos, and Jenni Rivera hit theaters this past Friday and made close to $1.5 million over the weekend. It’s an impressive opening for an independent Latino film.
June 8 marks the opening of the 21st edition of Cine Ceará, an event that is establishing itself as one of the leading festivals among the huge range on offer in Brazil, which is distinguished by its Latin American focus. This bridge between the giant of the south and the rest of Latin America, which extends its reach to Spain and Portugal, began to take shape with the arrival of its current executive director, Wolney Oliveira, a director-screenwriter-producer who graduated from the San...
From the mid 1920s, starting in Europe, it has been increasingly common to see alliances between film producers from different countries as a way to finance and produce films, in the form of co-productions. A film that is the fruit of a co-production agreement between two or more states therefore has two or more “nationalities”, which makes it eligible to receive national tax incentives and other forms of government support aimed at fostering film production, distribution and/or exhibition.
The 12 local films launched in 2009 attracted little over one million film-goers and snagged only a 4% market share despite institutional efforts in production. The most popular films were El Arriero, The Passion of Gabriel and The Wind Journeys.
According to Cinesargetinos.com.ar, in 2009 Argentina released 283 titles and 80 local films headed by The Secret in their Eyes (2.4m admissions). General admissions dropped with regard to 2008 but, on the other hand, revenue rose due to higher ticket prices with the arrival of 3D cinema.
In recent years we have seen how many projects in Argentina did not connect with the public, and were eventually forgotten. According to some, the problem stems from the directors, producers and funding institutions, who are unable to understand audience preferences.