Curatorship Text



Technological evolution has changed the way we consume information, changed our habits and our routine, causing a direct impact on all sectors of industry and on the very expression of society’s cultural identity.

The revolution that content consumption has been experiencing over the past decade, fueled by the expansion of access across multiple screens and digital platforms, has overtaken the traditional audiovisual production, financing and marketing model, affecting the entire chain.

One advent has changed the relationship of content consumption: power has expanded from the television (now Smart TV) remote control, or the armchair of the movie theater (with programming increasingly focused on blockbusters and major releases), to any smart phone, tablet or notebook screen, with consumers watching content whenever and wherever they are available. By 2020 we will be 4 billion people connected via smart phones.

In this new universe, the audience has become the ultimate protagonist and the driving force of the entire structure. It has the control and autonomy to find information and choose the channel or platform on which to watch its favorite film, whether or not paying for it.

This structural change that encompasses all access to information coupled with the new pace of life, in which time is more valuable than entertainment, opens up a large window of opportunity that invites the audiovisual industry to review its model. The good news is that we are not alone. The industry sector that is not comprehensively reviewing its model at this point in time is likely to find itself in trouble very soon.

Obviously, a disruptive environment generates change, wiping out our comfort zone and inevitably leading to reflection. A very familiar feeling in this contemporary context. And it is the big tech companies that have so far taken advantage of this environment. Because they have a digital DNA and a culture of innovation, they quickly add value to their products, creating production solutions on a global scale.

It is no coincidence that the world’s four most valuable companies today are technology companies, all linked in some way to the production, marketing and exhibition of content. They all know and dialogue very closely with their audience and have in their data its most valuable asset.

The curatorship proposal presents three discussion axes that seek to complement and build on each other. We understand that our approach needs to cover the entire chain, as we no longer produce content for an audience of two decades ago; we produce content for an audience that represents each of us and our daily lives, where the mobile phone is a personal assistant, and through it we talk to our friends and interact on social media. The instant messaging and audio groups changed the way society communicates and consumes information; content platforms multiply daily, and YouTube has become millions of television channels. We no longer read printed books and newspapers; now everything is instant and immediate. The engine of our lives is the “now”.

How can we pause this anxiety in order to analyze this modus operandi established in spite of our ambition? How to produce with excellence, generating relevant content that proposes analysis and reflection, that entertains with quality, that goes to the national and international market, and, above all, reaches audience?

Crisis and opportunity are words that go together. And we live in a time when opportunities have never been so many. We have never had access to so much data and such proximity to our audience. We have never had so many tools and technological possibilities available. We have never had the option to work with such an autonomous model. We have never had such a range of exhibition channels and business models. We have never had the opportunity to think of a film and television commercialization market that is completely free from the prison of programming hours. We have never had such a connected audience and so many resources to approach and get to know it. We have never had so many audience building initiatives and ways to connect new audiences to our products.

The first edition of Reach: Audience, Content and Technology arises from the need to talk about this topic and our desire to bring this discussion to the Brazilian market, connecting relevant players from the international and local industries, so that together they can establish a multicultural dialogue and multidisciplinary approach to understanding and connecting with the audience as a starting point.

There are no films without an audience and no audience without communication. The first axis introduces key Audience Design concepts and brings experts from the TorinoFilmLab, followed by a conversation with project development financing and training institutions such as IBERMEDIA, Hubert Bals Fund and EAVE. To top it off, an extremely successful audience connection case study presented by UniFrance, MyFrenchFilmFestival.

Curation and Relevance. Artificial Intelligence and Big Data. Consumer Journey and Digital Ecosystems. This second axis investigates where communication opportunities with the audience lie, what are the new digital business models, marketing tools and decision-making processes. Renowned content curators will share their vision in a conversation with MUBI’s platform: British Film Institute, Canal Brasil and the Guadalajara International Film Festival. Data specialists and digital services executives from companies such as Globoplay, EYELET, Filmmelier, Desbrava and Parrot Analytics outline possible avenues for facilitating communication with the audience through the use of advanced tools and innovative strategies.

The change in the rules of the game transformed the scenario. The third axis broadens the discussion to financing and selling. Producers and distributors prominent in the international market, such as RT Features, BF Distribution, Blue Fox Entertainment, CINEVINAY and Media Musketeers, armed with creativity and a sense of innovation, will present possible panoramas and models that are being practiced and tested.

At a time when the global market is undergoing a complete restructuring and the Brazilian industry is facing significant changes, we hope that our programming will broaden perspectives and contribute to the visualization of possible new avenues for audiovisual content.


Curatorship by Paula Gastaud