BrLab 2015

Presentation SPCine

Spcine and BrLab: a partnership for audiovisual projects’ development beyond national territory

239 applicants, of which 140 were Brazilian projects – in those, 56 from the state of São Paulo and 99 from abroad – mostly coming from Argentina. These numbers, which were the foundation whence the 12 BrLab participating projects were chosen, reflect the ample supply of stories and narratives spread across the South American continent and in São Paulo above all. It brings to light not only the filmmakers’ creative thrive but also the way the market is enticed towards producing and mobilizing.
Back when Spcine was still a project bill making the rounds in São Paulo’s Municipal Chamber, it had already set as priority to develop programs focused on script writing. We believe that an audiovisual product’s cycle begins with a good story. It gets even better once it blossoms from a solid, well-grounded argument and goes through consulting with specialists. That is why we decided to promote BrLab for the second consecutive year, in partnership with Klaxon Cultura Audiovisual and sponsored by the São Paulo Municipal Cultural Office.
For the audiovisual productive chain, an event such as this one is indispensable insofar as it develops language, discusses narrative possibilities, pushes deal making and brings strategic players together. BrLab is directed towards industry articulation and fostering the meeting of screenwriters and project developers.
Branching widely alongside Latin American production is something of great interest for SPcine.We believe that being part of the bond between BrLab, the applying projects and a multi-national evaluation committee confirms that São Paulo is a strategic city for hosting internationally acclaimed audiovisual events.
The number of São Paulo projects selected for the labs – four in total, or a third of all selected, including one co-production – is one of this year’s highlights. The list includes Maria Clara Escobar’s Desterro, produced by Filmes de Abril; Thais Fujinaga’s O filho plantado, produced by Avoa Filmes in co-production with Lusco Fusco Filmes; and Marcela Lordy’s O livro dos prazeres, produced by bigBonsai in co-production with Argentina’s Rizoma Films. Adirley Queirós and Joana Pimenta’s Mato seco em chamas closes the list as a co-production between Cinco da Norte, a production company from Ceilândia, in the Brazilian Federal District, and São Paulo’s Punta Colorada de Cinema.
We hope for BrLab to become a fixture in São Paulo’s cultural calendar, as in Brazil and Latin America, remaining a merging point for filmmakers, screenwriters and market professionals. Its longevity is essential for fostering the most impacting level before the final product, which is project development.
Alfredo Manevy
President of Spcine