RIO DE JANEIRO — Inside the refrigerated halls of Armazém da Utopia, the venue hosting the RioMarket at the Rio Film Festival, the mood shifted dramatically from hope to despair following the first round of Brazil’s presidential election. Renowned director Marcelo Gomes was among the industry figures who felt the weight of the political uncertainty, signaling a loss with an “L” sign for “loss” after the results showed far-right candidate Flávio Bolsonaro taking the lead.
The festival, held just days before the runoff vote, had initially been bathed in optimism. With President Lula campaigning nearby, attendees sported red Lula stickers, and the atmosphere reflected the belief that cinema serves as a vital diplomatic tool. Festival director Ilda Santiago had emphasized on stage that strong public policies are the bedrock of a healthy film industry, describing cinema as a “powerful diplomatic weapon.”
Brazil’s cinematic renaissance in recent years has been directly linked to Lula’s administration. Following a four-year period under Jair Bolsonaro, whose government slashed budgets for the National Cinema Agency (ANCINE) and the Audiovisual Sector Fund (FSA) by nearly 43% and froze public funding for 18 months, Lula reinstated support with a R$1.6 billion ($298 million) investment pledge. The strategy, which included tax incentives and screen quotas, helped Brazilian films like Walter Salles’ “I’m Still Here” and Kleber Mendonça Filho’s “The Secret Agent” achieve global acclaim.
However, the first-round results have cast a shadow over these gains. Flávio Bolsonaro secured 47.03% of valid votes compared to Lula’s 45.16%, in the tightest race in Brazilian history. Industry professionals warn that a Bolsonaro administration would likely reimpose the austerity measures that previously paralyzed the sector.
“The possible return to power by the same group that governed the country between 2019 and 2022 is a catastrophe,” said Paula Cosenza, head of the production company Trema. She noted that the far-right candidate challenges the legitimacy of art, science, and press, leaving a legacy of cultural paralysis and over 700,000 pandemic deaths.
Complicating the political landscape, Flávio Bolsonaro is currently under federal investigation for alleged money laundering and corruption related to the financing of “Dark Horse,” a biopic about his father. Leaked messages suggest he personally negotiated payments from Daniel Vorcaro, a convicted fraudster, to fund the English-language production.
For filmmakers like Ricardo Alves Jr., whose thriller “The French Teacher” premiered at San Sebastián, the political climate feels increasingly dystopian. “Last night can only be seen as a horror film,” Alves said, urging voters to see the second round as essential to protecting rights in education, human rights, and culture.
As the festival continues, the juxtaposition of artistic achievement against political regression has created a somber atmosphere. Gomes and his colleagues now view the upcoming runoff not just as a political contest, but as a critical determinant for the survival of Brazil’s thriving audiovisual economy, which employs over 600,000 people.
Is the festival crowd really that panicked? First-round polls shift fast. Let’s see what the runoff actually brings before declaring catastrophe.
Six hundred thousand jobs depend on this. It’s not just about art; it’s about the livelihoods of technicians, crew, and distributors nationwide.
Wait, he’s making a movie about his dad while under investigation? That’s a plot twist even fiction wouldn’t dare try. Very strange.
Heartbreaking to see artists treated as enemies of the state. Lula’s investment clearly worked, and these cuts would be a disaster.