1 week ago
2
Founded in 2015, film-TV body Spcine began as São Paulo’s film commission but has grown into a driving force in Brazil’s film and television industry. Beyond supporting productions, it has launched a citywide theater circuit, a public streaming platform, and, in 2021, Brazil’s first local production incentive. It also supports training programs focused on diversity and inclusion and gathers data via its Audiovisual Observatory.
During the pandemic and amid deep federal cuts to film funding under former president Jair Bolsonaro, Spcine became a pillar of industry resilience—and a powerful symbol of Brazil’s commitment to cultural diversity.
“Spcine’s journey can be understood in phases, each marked by important milestones,” says Spcine CEO Lyara Oliveira. “The initial stage was focused on establishing foundational structures that remain central to our mission today — such as the creation of the São Paulo Film Commission, the Spcine Circuit and our first public funding initiatives.
“The following phase saw consolidation and growth. We expanded our public policies significantly, launching training programs and implementing dedicated initiatives for the gaming sector,” she said, adding: “We also faced a challenging period, marked by institutional tensions and the COVID-19 pandemic, which required us to adapt and scale back. Nevertheless, we maintained operations and continued delivering on our public policy commitments to the sector.”
Surviving the Bolsonaro years exacted even more demands from the organization. Fortunately, as a public company with its own administration, it had more resource control and is insulated from political instability, unlike traditional agencies, said Oliveira.
“Since Spcine is a municipal entity, federal-level changes often have a milder impact. Additionally, São Paulo’s environment favors business continuity and development. The city historically values entrepreneurship, legal and administrative stability and fosters conditions for businesses to thrive — regardless of political shifts,” she stressed.
Totó Parente, secretary of culture of the City of São Paulo, notes that the
city is already “the largest audiovisual production hub in the Southern
Hemisphere.”
“The sector is strategic not only for its creative and cultural relevance but also for its economic power. It generates over 57,000 jobs and accounts for 22.3% of Brazil’s audiovisual GDP, with an estimated direct impact of $1.2 billion and total transactions surpassing $1.6 billion. Film and TV are key drivers of innovation, employment and international projection for the city,” Parente says.
The São Paulo City Hall’s investment in the audiovisual sector has grown significantly, particularly through Spcine, he added, pointing to its various initiatives that include Brazil’s first cash rebate program for local and foreign productions, which reimburses up to 30% of local expenses.
“Across two editions, the city invested around $8.65 million, generating a return of over $15 million in production expenditures — a clear sign of the sector’s economic potential,” he points out.
Now in its second decade, Spcine seeks to expand global partnerships, promote sustainable production, boost Latin American collaboration and grow its innovation and training initiatives, says Parente.
“A key goal is to consolidate São Paulo’s position not just as the largest audiovisual hub in the Southern Hemisphere, but as a global model for inclusive and forward-looking public policy in the creative economy,” he adds.
Political and sector coordination remains the key challenge of Spcine, says Oliveira.
“Our aim is to sustain and expand these networks, secure funding to keep supporting our incentive programs, and implement new initiatives aligned with the sector’s current realities,” she says. “We recognize that audiovisual is a constantly evolving field, with new business models and technologies emerging regularly. That’s why we stay alert to these developments, striving to create responsive, forward-thinking public policies.”
English (US) ·