Brazil in Cannes: The New Era of National Audiovisual Conquers the World

From supporting role to protagonist: How Brazilian cinema is redefining its global presence at the 2025 Cannes Film Festival

Brazil isn't just present at Cannes this year – it's being celebrated. In a historic moment for the national audiovisual sector, the country was chosen as the official honoree of the 2025 Marché du Film, the world's largest film market, which takes place alongside the prestigious Cannes Film Festival. This achievement symbolizes much more than a fleeting recognition: it represents the consolidation of an ambitious internationalization strategy that has been built over recent years.

The conference "Audiovisual Ecosystem and Brazilian Institutions," held last Thursday (15) during the event, brought together authorities and industry representatives to present the advances in public policies, funding instruments, and the internationalization strategy of Brazilian film production. Led by Culture Minister Margareth Menezes, the initiative demonstrated how Brazil is determined to transform its creative potential into a global presence.

"It's a great achievement to see Brazilian culture, through audiovisual, our cinema, and our stories, occupy this prominent space," declared Margareth Menezes during the event. "Audiovisual is our spearhead. It's time to recognize its capacity to generate employment, income, and to represent Brazil both domestically and internationally."

What makes this moment particularly significant is that it doesn't arise by chance, but from structured work that combines public policies, strategic investments, and a long-term vision. In 2024, the Ministry of Culture launched an international co-production call with more than R$220 million, encompassing 72 films in partnership with over 40 countries. Agreements were also signed with France and China, consolidating the internationalization of national production.

For the Secretary of Audiovisual at the Ministry of Culture, Joelma Gonzaga, the results are already visible in the Brazilian presence at international festivals. "The films 'Secret Agent' and 'Para Vigo Me Voy' last year; 'Motel Destino' in the official competition for the Palme d'Or; 'Baby' at Critics' Week; 'Hetero Fantasma' the year before; 'Medusa' in 2021; 'Memory House' in 2020; 'Bacurau' and 'The Invisible Life of Eurídice Gusmão' in 2019 — all recognized at Cannes Classics or Un Certain Regard — were made possible by robust public policies supporting audiovisual in Brazil," she stated.

The Brazilian Ambassador to France, Ricardo Neiva Tavares, highlighted how this presence in Cannes symbolizes a convergence between culture, diplomacy, and economy: "Brazil's expressive participation in Cannes proves how culture can simultaneously elevate the country's image, stimulate its economy, and expand international cooperation. Cinema is a powerful tool to show the world the creativity and talent of our people."

But what's behind this new moment in Brazilian audiovisual? Beyond financial investment, there's a change in mentality. Brazil is no longer just exporting isolated films but building a complete ecosystem that includes training, infrastructure, distribution, and international promotion.

Daniel Tonacci, Coordinator of International Programs at Ancine, revealed that since the pandemic, Brazil has signed new treaties with countries like Portugal and Uruguay and invested R$750 million in infrastructure, studios, training, and technology. "It's an effort to make Brazil an increasingly relevant partner on the international scene," he explained.

Another significant advance is the inclusion of audiovisual in the New Brazil Industry program of the Ministry of Development, Industry, Commerce, and Services (MDIC), recognizing the sector as strategic for the country's economic development. Added to this, the resumption of screen quotas and the increase in the number of exhibition venues — with more than 3,200 theaters in operation and plans to open 100 new ones by next year — demonstrate a strengthening of the production chain as a whole.

One of the most important challenges the sector currently faces is the regulation of streaming services, a priority agenda to ensure balance between platforms and the rights of Brazilian production. This issue, which is under discussion in the National Congress, may define the future relationship between national content and major global platforms.

Secretary Joelma Gonzaga emphasized that the current administration's goal is to leave a lasting legacy for the sector. "We want to leave by 2026 a legacy that showcases a Brazil that exports culture with identity, autonomy, and creative power, with solid regulation for streaming that strengthens our intellectual property and allows our stories to reach the world," she concluded.

The Brazilian presence at Cannes 2025 is not just a showcase for national films but a statement of intent: Brazil is ready to be a protagonist in the global audiovisual scene, with diverse, authentic, and competitive production. As Minister Margareth Menezes summarized: "Brazilian audiovisual is mature. We've arrived at this moment with experience, competence, and a desire to grow. This is the time to compete for space, open paths, establish partnerships, and show the world Brazil in its fullness."

For us at Névoa Filmes, following this transformation is witnessing the beginning of a new chapter in the history of Brazilian audiovisual. A chapter in which our stories, our aesthetics, and our worldview finally gain the recognition and reach they deserve. Brazil is not just participating in the global game – it's redefining the rules.

Sources:

• Ministry of Culture: "Conference in Cannes highlights the strength of Brazilian audiovisual and marks a new cycle of internationalization," 05/15/2025

• Gov Agency - EBC: "Brazilian audiovisual in the place it deserves," 01/12/2025

• RFI: "Brazil experiences 'unique moment' in Cannes, says Culture Minister Margareth Menezes," 05/16/2025