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could have a transformative impact on the industry.” LOOKING AHEAD What gives Duarte hope about the country’s future is seeing how recent momentum has inspired Brazilian people to make more films. “We are seeing more international co-productions, as well as new filmmakers emerging and finding ways to produce their work. A generation is coming of age that is following this recognition of Brazilian cinema and becoming more interested in it.” Duarte also notes that audiences are more engaged in watching, discussing and valuing Brazilian films. “It was not as strong a few years ago,” she adds. “This blend of new talent, increased audience interest and international collaboration points to a promising future. It is something that will be reflected not only in the present but in Brazilian cinema for years to come.” For Aïnouz, a number of extraordinary developments are taking place and we are witnessing a great rise in Brazilian cinema. He suggests that, while cultural waves of growth and decline can be disheartening, they reflect something distinctly Latin American – a continual process of reinvention. “What is especially compelling is the emergence of a new generation of Brazilian filmmakers from increasingly diverse backgrounds,” he says. “This shift is also geographical; voices are coming from far beyond the traditional cultural centres. For a long time, film, television and fiction production were concentrated in the southeast. That is now changing. Today, we are seeing a broader range of stories that more
insecurity and growing violence. Economic unpredictability is the norm here. I think the world is increasingly resembling Brazil, and our stories seem to have something to say about this new global order.” She adds that uncertainty in culture and the film industry reflects this shift: even major studios like Marvel cannot guarantee hits. “If we combine this with the Brazilianization of the world, we can say this is a good moment for Brazilian cinema,” says Torres. “But what Brazil urgently needs is legislation to regulate streaming and big tech. That alone would create a foundation for an industry less vulnerable to the political and economic instability that repeatedly affects the country.” With over 200 million inhabitants surrounded by the sea and Spanish- speaking countries, Torres says Brazilians are inward-looking. “We consume our own culture and, with a sizable domestic market, we enjoy a degree of self- sufficiency,” she concludes. “This does give me hope, but also sadness, because I wish other cultures knew about Nelson Rodrigues, Machado de Assis, João Guimarães Rosa and Macunaíma or the characters Riobaldo and Capitu. Apart from Brazilian music, other art forms are limited by language and geography, and we have very little communication with the outside world. “I think we struggle to produce universal films and feel immense pride when a Brazilian breaks out of our isolation. I believe we will continue like this – on the margins, but with a great capacity to surprise.”
accurately reflect Brazil’s history and its social and regional diversity.” Overall, Aïnouz finds the moment very promising. “Alongside exhibition and distribution issues, we need to strengthen development, especially in training and screenwriting,” he notes. “Brazil does have a history of filmmakers developing projects independently, but expanding prospects in these areas would be valuable. At the same time, there is clear renewal underway. Voices and regions that were previously excluded from the conversation are now emerging, and that is exciting. There is also a growing ambition to position Brazil as a hub for international productions, although that is still in its early stages.” Torres highlights an interesting thesis about the ‘Brazilianization’ of the rest of the world. “The world is more unequal, more insecure, more chaotic and less predictable than 50 years ago,” she says. “Brazil has been living in chaos since its founding, with stark social inequality, extreme income concentration,
CAUSE A STIR From Mário
Peixoto’s Limite (1931, middle) to I’m Still Here by Walter Salles (top) Brazilian cinema is often critically acclaimed
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