When BrLab’s first edition was held, in July 2011, alongside São Paulo’s Festival de Cinema LatinoAmericano, there was much enthusiasm and a sense it was the beginning of a program that would contribute to the cultural and economic development of the audiovisual sector both in the context of Latin America and Brazil – which still lacked in internationalization and a better integration with our Latin-American geographical surroundings. Moreover, we had the indisputable certainty that we were starting a rather urgent and unprecedented project in Brazil. Four of the 2011 edition new director’s feature projects have reached the screens by 2013, being prominently highlighted in important festivals in Brazil and abroad. From Brazil, Claudio Marques’ and Marilia Hughes’ Depois da chuva (Bahia), and Renata Pinheiro’s Amor, plástico e barulho2 (Pernambuco) made their debut at Festival de Brasília do Cinema Brasileiro’s last edition3 , where each film received three major awards4 . Fernando Coimbra’s O Lobo atrás da porta5 , a São Paulo production, has won the Horizontes award at the “Horizontes Latinos” section of the 61st San Sebastián International Film Festival, in Spain; as well as sharing the award for Best Feature Film at Festival do Rio’s 2013 “Premiere Brasil” with Caru Alves de Souza’s De Menor. From Mexico, David Pablos’ first feature production La Vida después6 , made its international debut at the 70th Venice International Film Festival’s prestigious “Orizzonti “ section. 

BrLab’s execution in 2011 was adamant for us to develop a much needed tenacity that brought us to the current edition, held from October 20th to the 26th, 2013, in São Paulo. It has been a bliss to conclude yet another journey alongside 24 participants, who rewarded us with talented projects and stories of generosity and affection. It’s also important to remember that, without the tutors’, consultants’ and other professionals’ collaborations, we would not have reached the excellent results attained this year. 

In this 2013 edition, through an important new alliance, BrLab was integrated as part of São Paulo International Film Festival. In this regard, we would like to publicly thank Renata de Almeida and Ivan Melo, as well as the whole Festival’s team, for their generous welcome. We hope to continue to give back, keeping this harmoniously built partnership alive for many years to come. 

BrLab reaffirms itself as a reference point for Latin American projects’ development in Brazil, thanks to the constant work that allowed us to consolidate our place in the international calendar of similar initiatives. It is undeniable that encounters such as those promoted in the lab naturally foster opportunities for international cooperation and exchange between professionals, boosting different countries’ filmmaking and, in the same sense, encouraging the promotion of Brazilian audiovisual production abroad. BrLab has become a space where Latin American and European professionals spontaneously converge, with an interest in establishing contact with projects that are either fresh or under development – and this approach often results in invaluable partnerships. 

In the years following BrLab’s first edition, two documents were published setting strategies for the development of a national creative economy in Brazil and its audiovisual sector. In December 2011, the Ministry of Culture (MinC) published a detailed set of goals that make up the National Culture Plan 7 ; and in August 2012, the National Film Agency (ANCINE) released its Audiovisual Guidelines and Goals Plan (PDM) - published in August 2013, after public consultation - then named “Audiovisual Guidelines and Goals Plan: Brazil’s all eyes for all screens”8 . Both documents lay the foundation for the development of cultural policies, creative economy and the Brazilian audiovisual market by 2020. 

It suffices to highlight relevant excerpts, as this isn’t the place for a thorough scrutiny of their contents. The PDM’s general guideline, for instance, aims “To establish the foundation for the development of audiovisual activities, based on the production and circulation of Brazilians content, in the form of a sustainable, competitive and innovative economy that is accessible to the population in an environment of freedom of expression and cultural diversity”. This guideline evidences the need to rethink how the market is structured. Both documents strongly emphasize the importance of professional training and qualification for the growth of a more sustainable creative economy and audiovisual sector in Brazil. 

ANCINE’s PDM points out seven necessary initiatives in order to consolidate a “strong and lively audiovisual production”, and for “the Brazilian audiovisual body of work to grow according to projection”. The second key initiative for such an expansion would be to broaden “the investment in innovation, research and qualification of agents, projects and works, as well as film and audiovisual schools”. On the other hand, goal numbers 18, 19 and 25 of the Ministry of Culture’s National Culture Plan respectively determine “100% increase in the total number of people annually qualified in courses, workshops, forums and seminars focused on cultural management, artistic languages, cultural heritage and other areas of culture”, “100% increase in the total number of people served annually by initiatives fostering research, training, production and distribution of knowledge” and “a 70% increase in activities of cultural promotion in national and international exchanges.” 

In our already established international alliances and with each proposal we receive, we are always careful not to reproduce “symbiotic” models with bilateral actions, which often solely entail an “amalgamation” of content. We also take caution not to rely onto mechanical or automated devices resulting from centuries of “cultural colonialism”, since it’s so hard to reap the rewards, and because inter-dialogue is itself our very sowing. 

Finally, we leave here an enormous thank you to all institutions participating in BrLab in many spheres - in special to the Ministry of Culture’s Audiovisual Secretariat, present in all editions of the program, and to the collaborating institutions, tutors, professionals, participants and friends from all over the world who believe and contribute to the consolidation of this initiative. It is up to us to keep on treading creative solutions to advance even further, and perhaps gain recognition as more of a civil society initiative in partnership with public audiovisual policies than as an isolated private initiative that gets mixed up and lost amongst others.