The BrLab Santa Catarina was an audiovisual project creation and development lab specially designed for the audiovisual market and professionals in the state of Santa Catarina.
Its activities were divided into two stages, which aimed to promote the training of local content creators and audiovisual producers, in addition to contact-building and networking among professionals and players from different segments of the audiovisual industry.
The lab took place in person in Florianópolis (SC) in both stages and offered remote consultations in the period between them.
The first stage took place from July 1st to 8th, 2022, with over 50 participants divided between “audiovisual content creators” and “audiovisual producers”.
Those selected in the “audiovisual content creators” category participated in one of five possible workshops, according to their projects. These workshops were: 1) fiction features; 2) documentary features; 3) series; 4) animated features or series; and 5) features or series for children and young audiences.
Those selected in the “audiovisual producers” category necessarily participated in the audiovisual planning and production workshop, regardless of their project’s category.
These six workshops took place simultaneously throughout the first stage, which also offered open classes to all participants and individual consultations between projects and project mentors. Only representatives of projects that participated in the first stage were able to apply for the second stage. Those interested sent new applications and went through a second selection process, which chose 24 projects to receive remote consultations throughout the month of August 2022.
These consultations were mandatory, as they formed part of the preparations for the second in-person stage of BrLab Santa Catarina, which took place from September 24th to 28th of 2022.
This second stage consisted of business rounds in which the projects could be presented to market players, which was chosen by BrLab in partnership with FAM – Florianópolis Audiovisual Mercosul, an organization that hosted part of the program.
The BrLab Santa Catarina was selected for the 2019 Catarinense Cinema Award and was a production of Klaxon Cultura Audiovisual, the Fundação Catarinense de Cultura and the Government of the State of Santa Catarina, with sponsorship from BRDE – Regional Development Bank of the Far South, FSA – Audiovisual Sector Fund, and ANCINE – Brazilian Film Agency. It also featured the participation of API – Brazilian Association of Independent Audiovisual Production Companies, Santacine – Union of the Audiovisual Industry of Santa Catarina and Associação Cultural Panvision.
2022
23 Sep
Lecture
BrLab Santa Catarina
3:00 PM
CineShow Beiramar Shopping - Sala Vip
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Audience Design Lecture with Marina Tarabay (distribution consultant) and Rafael Sampaio (director of BrLab, curator and film producer)
2022
24 Sep
Training
BrLab Santa Catarina
10:00 AM
Majestic Palace Hotel
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Training with Nara Aragão, Fernanda de Capua and Rafael Sampaio
2022
26 Sep
Business Round
BrLab Santa Catarina
9:00 AM
Majestic Palace Hotel
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Event with market players
2022
26 Sep
Lecture
BrLab Santa Catarina
2:00 PM
Majestic Palace Hotel
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Lecture with Zico Goes
2022
26 Sep
Lecture
BrLab Santa Catarina
4:00 PM
Majestic Palace Hotel
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Lecture with Mariana Brasil
2022
27 Sep
Business Round
BrLab Santa Catarina
9:00 AM
Majestic Palace Hotel
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Event with market players
2022
27 Sep
Business Round
BrLab Santa Catarina
2:00 PM
Majestic Palace Hotel
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Event with market players
2022
28 Sep
Business Round
BrLab Santa Catarina
9:00 AM
Majestic Palace Hotel
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Event with market players
2022
28 Sep
Business Round
BrLab Santa Catarina
2:00 PM
Majestic Palace Hotel
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Event with market players
2022
21 Nov
Lecture
BrPlot Reach
7:00 PM
Espaço Itaú de Cinema
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Much is said about the importance of constructing non-hegemonic narratives and circulating stories that represent different perspectives so that multiple imaginaries can be constituted and, also, so that different audiences can be reached in an increasingly niche and segmented market. How to stimulate narratives that represent different visions or historical reviews, how to link narratives with modes of production and what could be behind this industry demand?
Palestrante
Indigenous activist of the Krenak ethnic group, Professor Doctor Honoris Causa of the Federal University of Juiz de Fora, scriptwriter and presenter of TV series, journalist and writer, with books and articles published in several languages. Guest researcher of the Calas Chair-IEAT-UFMG, questioning urban logic and human speciesism, with the research A Vida é Selvagem.
Direção | Palestrante
Director and producer of Pattaki Produções Audiovisuais, she graduated in Cinema with a specialization in Documentary Directing from EICTV, Cuba. She is a member of APAN – Association of Black Audiovisual Professionals. Her films have been featured in festivals such as Sundance, Rotterdam and BFI. She recently won the William Greaves Fund.
Palestrante
Director, screenwriter and producer. She is the author of the films Bicho de Sete Cabeças, Chega de Saudade, As Melhores Coisas do Mundo, Como Nossos Pais and A Viagem de Pedro. For 15 years she coordinated the Tela Brasil projects and, for two years, was the CEO of Spcine. She is a member of the American Academy of Oscars.
Palestrante
French producer, graduated from the Institut National de l’Audiovisuel (INA). He founded Special Touch Studios with Olivier Laouchez. He produced Le Gang des Antillais by Jean-Claude Barny and Funan, which won an award at the Annecy Festival in 2018. In parallel, he teaches at university programs (Paris 3, Paris 7) and major schools such as INA, FEMIS and Les Gobelins.
Most funds and spaces that enable entry into the audiovisual market are based on the evaluation of other documents that are not the script. Therefore, scriptwriters and audiovisual creators must exercise and improve the writing of texts and the ways in which films are evaluated and presented. One of these documents, perhaps the most important of all, is the Argument. What is an Argument, how is it written and what is it for? does it work? What are the most common mistakes in writing and presenting arguments?
Comissão de Seleção | Palestrante
Screenwriter, consultant and teacher. She was coordinator and head of the Screenwriting Department at EITCV – Escuela Internacional de Cine y Televisión in San Antonio de Los Baños, Cuba. She coordinated the International Screenwriting Workshop (Havana Film Festival). She develops and teaches workshops in Brazil, Colombia, Puerto Rico, Panama, Cuba and the Dominican Republic. She works as a speaker and judge at Latin American and European events and festivals, and is a founding member of the creative collective Viceversa.
2022
22 Nov
Lecture
BrPlot
7:00 PM
CPF/SESC - Sala 3
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Scriptwriter Iana Cossoy Paro does a public interview with screenwriter, consultant and professor Eliseo Altunaga. The two will talk about the role of screenwriter, work techniques, teaching and script doctoring from the experience of both as authors and teachers at the International School of Cinema and Television of San Antonio de los Baños (Cuba) and in several other institutions.
Tutor | Speaker
Screenwriter, professor, and consultant. Director of the Master’s program and residency in Screenwriting at EICTV. She co-wrote the screenplay for Eneida (2022) with Heloisa Passos and Tina Hardy, Três Verões (2019) with Sandra Kogut, Eu Te Levo (2017) with Marcelo Muller, among others. She holds a Master’s degree in Audiovisual Media and Processes from ECA-USP and is a consultant and lecturer in various laboratories and schools throughout Latin America.
Palestrante
With a degree in Hispanic Literature and Literature, he is the Dean of the Screenwriting Chair at EICTV. His work includes La Invención de las Especies, directed by Tania Hermida (Ecuador), winner of the Sloan Science on Screen Award in 2024; The Count, directed by Pablo Larraín (Chile), winner of the Golden Lion in the category of Best Screenplay in 2023; and Una Mujer Fantástica, directed by Sebastián Lelio (Chile), awarded the Silver Bear for Best Screenplay in 2017 and the Oscar for Best Foreign Language Film in 2018.
When any professional screenwriter wants to sell their work on the market, a question fills their head as to whether it’s going to the right player. What does that producer/channel/platform really want? My project or my talent? Is it worth giving up the rights to my series? Is it worth having one? agent to represent me? Am I approaching development heads in the best way? In a sea of talents, how do companies select and retain the most suitable people for the profile of each project in the house? How to find new authors from a vast pool of talent ensuring diversity of voices and representing the plurality of Brazilian culture? At this table, professionals from different market segments exchange experiences to shed light on a topic that turns the head of any screenwriter who launches into the market, from beginners to the most experienced.
Palestrante
I built my career in production for major production companies in the sector, such as: O2 Filmes, TV Cultura, among others. Over the past ten years, I have taught in laboratories, given free courses and provided consultancy services to independent producers throughout Brazil, especially in cities outside the Rio-SP axis. I have worked with Brlab, Icuman Lab, Porto Mídia, Barco, Frapa, Ancine, Sebrae, etc. At the same time, I participated in the selection of projects in federal public notices or in business rounds at the largest film festivals in the country, selecting projects for several national and international players. Over the years, I have acted as a point of intersection in negotiations between players, producers and authors-screenwriters. This expertise has enabled me to master tools for negotiating rights and contracts and has brought me closer relationships with the most diverse players in the market. In 2019, I went to England to study the agency market in the United States and Europe. I immersed myself in this universe, studied the associations of these professionals around the world and in 2020, upon returning to Brazil, I worked as an executive at ABRA – Brazilian Association of Screenwriters. That’s how Mari Brasil Agenciamento was born in 2021. An agency created by an executive producer with almost 30 years of experience in audiovisual production. The aim is to represent screenwriters and their projects, connect them to the business models of executives from the main companies in the entertainment industry and provide better business, bringing more security and peace of mind to both screenwriters and market players.
Palestrante
Director of Committees and WGs at ABRA (2020-2022). Screenwriter, creative executive producer and creator of multiplatform content. Master in Media and Culture from the Federal University of Goiás (2012). Screenwriter for the educational series Reprograme (Youtube), the documentary series Histórias Conectadas (Youtube), and the reality show Sobe Junto (Youtube). Creative Executive Producer of the Afrofuturistic animation series Fábulas da Conexão (Youtube).
Palestrante
Program Director of the Paradiso Project, she is a journalist with a postgraduate degree in Audiovisual Production and Management from the University of Coruña/Spain, and was also a student at the Center for Studies on International Negotiations at USP. She was part of the BRAVI team for ten years and managed the Brazilian Content program, a partnership with Apex-Brasil. Previously, she worked for three years in the distribution of feature films and series for the international market. She has been part of the Paradiso Project team since 2019.
Palestrante
Creative Manager at Estúdios Globo, Babi Libânio leads the creation of scriptwriting, research and content production teams for soap operas, series, reality shows, variety shows, talk shows and original documentaries for Estúdios Globo. As a creative executive, she also coordinates the strategic development planning for Globo Originals. In the independent market, she produced HBO’s first documentary series in Brazil, “Seleção Brasileira: Paixão de um Povo”, for LC Barreto, which won the bronze prize for sports program at the Telly Awards. As an executive producer at Cinegroup, she developed and produced series and reality shows for Discovery, History, Aljazeera, NHK, GNT, Warner, among others.
2022
23 Nov
Lecture
BrPlot
7:00 PM
CPF/SESC - Sala 3
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To create a good story, whether fictional or documentary, it is essential that the person or group of screenwriters have the best working conditions, which involves a series of items that are often not fully complied with by some of the players in the Audiovisual Industry. Piggybacking on the launch of the Abra, which proposes recommendations to the market to create this favorable environment for the craft of authors screenwriters, this table will bring together representatives of large Brazilian producers to debate the relationship between screenwriters, producers and other entities in this production chain to guarantee a healthy and fair between the parties, key to the quality of the final product.
Produção | Palestrante
Creative Director and CEO of Glaz Entretenimento, Mayra Lucas has extensive expertise in content creation, financial structuring, production and distribution of live action and animation. Focused on creating content that brings fun, belonging and reflection to the Brazilian public, she is responsible for hits such as Caso Evandro, Cabras da Peste, Historietas Assombradas, Tô Ryca!, De Volta aos 15 and Nada Suspiitos among her more than 50 projects already completed. As CEO of Glaz, she takes care of governance, investors and institutional relations, aiming at the well-being of the people who work at Glaz, the safety of business partners and creative talents, based on transparency in all links of the Company, always focusing on the quality of the projects, and the ultimate goal of enchanting the audience, of all ages.
Palestrante
Debora is a lawyer, producer and partner at Gullane. She has over 25 years of experience in the market, focusing on corporate and institutional relations. She was a director at Ancine – National Cinema Agency between 2015 and 2019. She is the executive director of SIAESP – Audiovisual Industry Union of the State of São Paulo. Her work in the area of Social Responsibility is a reference as the founder of the Querô Institute, dedicated to young people from peripheral regions and of +Mulheres Lideranças do Audiovisual Brasileiro.
Palestrante
She is a screenwriter for TV Globo’s Entertainment Hub in SP. She currently writes for the programs Mais Você, Encontro com Patrícia Poeta and É de Casa. She has a Master’s degree in Science from the School of Public Health at the University of São Paulo and a bachelor’s degree in Social Communication from the Cásper Líbero School of Social Communication in São Paulo. She was a reporter for Folha de S. Paulo and O Estado de S. Paulo for twelve years, specializing in health coverage. At TV Globo since 2010, she was also part of the team that created the program on health and behavior Bem Estar, in the journalism department, where she worked as a producer and editor. She has a degree in screenwriting from PUC in Rio de Janeiro and Centro Cultural Barco. She also attended the School of Government, affiliated with USP, and the specialization in Advocacy and Public Policies at Fundação Getúlio Vargas, in São Paulo. She is the director of Institutional Relations and Public Policies at Abra (Brazilian Association of Screenwriters), 2021-2022 term, and the director of Communications for the next board of Gedar, 2022-2025 (Management of Screenwriters’ Rights).
Palestrante
Felipe Braga is in the role of breeders of the series “Lov3” (Amazon), “Samantha!” (Netflix) and “Sintonia”
(Netflix), the biggest Brazilian streaming success — besides “Latitudes” (Warner) and “A Vida Fora dos
Campos”, both nominated for the International Emmy. Selected by Variety as one of two “New Emerging Talents in Latin America”, it is credited with films such as “Marighella” (2021), “Legalize Já” (2017) and “Cabeça a Prêmio” (2009). Felipe is a partner with Rita Moraes of LB Entertainment, a company dedicated to the development of intellectual property, leader of SXSW for four years, and also a member of ABRA and the International Academy of Television Arts & Sciences.
Palestrante
Executive Development Producer at O2 Filmes since January 2021, Gustavo Gontijo has a long career in the entertainment and development area. Before that, he worked at Globo (the largest content producer in Latin America) since 2000 when he was hired as an author/screenwriter. In 2014, with the creation of the Weekly Drama division dedicated to drama and comedy series, he was named its Content Manager. During his tenure, he helped conceive and develop hits such as the medical drama “Sob Pressão”, the adventure “Ilha de Ferro”, the drama about education “Segunda Chamada”, Brazil’s first big-budget supernatural drama “Supermax” (and its spin-off in Spanish), the comedy “Mister Brau”, the Emmy-nominated “All the Women in the World” and the best series of the year 2017, according to MIPDramas in Cannes, “Carcereiros”, in addition to twenty other programs, in a total of more than 30 seasons aired. Gustavo was also responsible for the international expansion of these programs, taking Globo series, for the first time, to the biggest international festivals of the format, such as Berlinale, TIFF, SXSW, Canneseries, Seriesfest and many others. Gustavo was also behind the conception and implementation of Casa dos Roteiristas, a physical space with 13 script rooms dedicated exclusively to the development, writing and production of series, with the greatest Brazilian screenwriters, such as Jorge Furtado, Bráulio Mantovani, George Moura, Cláudio Paiva, Marçal & Bonassi, Mauro Wilson, Lucas Paraizo, Antonio Prata and many others. From 2019 to 2020, he was content manager at Globo Filmes with a main focus on feature films.
The market is incessant in saying that it wants to “”hear new voices””, but what movements have actually been made to find talent outside the major centers, especially the Rio-São Paulo axis? Like other screenwriters states and cities in the interior can access production companies and exhibition platforms, whether presenting and embarking on personal projects or being hired as scriptwriters for projects created by other professionals? This table will bring together screenwriters who managed to break the bubble, migrants or who remained in their territories, to discuss the best ways to find new talent and how audiovisual entities can contribute to valuing screenwriters from various regions of Brazil.
Palestrante
Screenwriter, editor and actor. He has worked with audiovisual since 2005 and has worked for several production companies and television stations in Ceará. He is the director of Sinfonia Filmes, where he wrote the script and edited the documentary “Aqui é Flamengo”, winner of the Gandhi Communication Award (2020). He was the screenwriter for the special “200 Years of Independence – Are There Still Issues?” (2022), produced for TV Globo. He works as the director of events and partnerships for ABRA (Brazilian Association of Screenwriters, board 2021-2022).
Palestrante
Juliana Colares is the creator of the series “Mangue Sujo”, selected for the 19th Ibero-American Audiovisual Projects Development Course, in Madrid, in 2021. She worked on the fiction series “DOM” (Amazon) and on the non-fiction series “Mulheres na Luta” (GNT / Canal Combate), “Imortais da Academia” (Canal Curta), “Latitude, Longitude” (Canal Curta), “Bela Cozinha” (GNT), among others. She wrote the script for the feature documentary “Por Onde Anda Makunaíma?”, winner of the Best Film award at the Brasília Festival, in 2020.
Palestrante
Lúcia Tupiassú is a screenwriter from Pará and has written over 15 titles. She is the author of the children’s series Fruti-Feras, which won an award at the Cabíria in 2021. She is also the co-author of the true crime series Meninas de Realengo (in production). With her first feature-length fiction film, she was selected for the Varilux Screenwriting Lab and the Cine Qua Non Lab (Mexico). She has a master’s degree in Communication from PUC-Rio, attended the TV Writing Intensive at Columbia University and studied Screenwriting and Documentary Production at EICTV, Cuba.
Palestrante
Screenwriter and executive producer. Specialist in Screenwriting and Creative Writing. Studied Film Directing at EICTV/Cuba. Director of SSA Adapta, the first festival in Latin America focused on Literary Adaptation. Director of the Let’s Do Things Together Movement, Live de Roteiristas and Banco de Autores Roteiristas, in partnership with ¡Candela! Produções. Over 20 years of experience in TV and in various works. Director of Bocapiu Conteúdo Criativo.
2022
25 Nov
Lecture
Reach
7:00 PM
CPF/SESC
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The film “”Cabeça de Nêgo””, feature film debut by filmmaker Déo Cardoso, was named best film of 2021 by Abraccine (Brazilian Association of Film Critics) and APCA (São Paulo Association of Art Critics) and awarded at the main festivals and events in the country. The film also carried out impact distribution actions and audience design and was awarded by the Göteborg Film Fund, in the Innovative Distribution category. The table will bring together the director, the producer, the international fund and the team responsible for the distribution and design of audience to present the results.
Direção | Roteiro
Born in the USA, with Brazilian citizenship, screenwriter and director Emerson Déo Cardoso is based in Fortaleza-CE and graduated in dramaturgy from the Instituto Dragão do Mar in the same city. In the United States, Déo completed his master’s degree at the Ohio University School of Cinema, where he won the Billman Fine Arts Award for the screenplay for the short film Port of Rafts (2005). After writing and directing 6 short fiction films and documentaries, Déo Cardoso made his feature-length debut in 2021 with the racial drama “Cabeça de Nêgo”, elected the best film of 2021 by Abraccine (Brazilian Association of Film Critics), by APCA (São Paulo Association of Art Critics), in addition to the critics’ award for best screenplay of 2021 by ABRA–Brazilian Association of Screenwriters. The film also earned the director a nomination for best debut director at the 2022 Grande Prêmio do Cinema Brasileiro. The film was licensed by the Globoplay platform, where it is available. As a screenwriter, Déo Cardoso collaborated on the series “Rota 66” (Boutique/Globoplay) and as a director, he was part of the directing team for the series “Encantado’s” (Globoplay). Currently, Déo Cardoso is developing his second feature film Os Olhos do Mar.
Comissão de Seleção | Palestrante
Distributor, researcher and curator. She is currently studying for her master’s degree at UFRB and studies the distribution of contemporary black cinema. She works for Fistaile, a company that promotes the encounter between audiences and audiovisual projects. She collaborates with spaces such as Lab Negras Narrativas, Sessão Vitrine Petrobras, Locarno Industry Academy, BrLab, El Público del Futuro and EFM Toolbox (Berlinale). She is a member of APAN, Andai and ABPA.
Palestrante
Filmmaker, director and producer. She was the executive producer of the feature film “Rânia” (2009), by Roberta Marques, winner of the New Directions Award at the 2011 Rio Film Festival. She won awards at the Grande Prêmio do Cinema Brasileiro with “Cine Holliúdy 1” and “O Shaolin do Sertão”, by Halder Gomes. She is currently working on the development of “Os Olhos do Mar”, by Déo Cardoso.
Tutor | Comissão de Seleção | Palestrante
She is a distributor, communicator, and researcher. She graduated in Social Communication from ESPM and holds a postgraduate degree in Journalism from Cásper Líbero. She has a master’s degree from Facom/UFBA with research on audiovisual reception, studying the audience of streaming platforms. She has worked for companies such as Vitrine Filmes and Elo Studios. She founded Fistaile, a distribution and audience design company. She has worked on projects funded by RioFilme, Spcine, MinC, and Göteborg Film Fund grants. She has attended training and market spaces such as Torino Film Lab NEXT Audience Design, Berlinale Talents Rio Audience Design, Locarno Industry Academy, Seminario Públicos y Audiencias del Futuro (Ficunam), Open Doors Locarno, and EFM Toolbox Programmes (Berlinale). She was part of the BrLab team, as a member of the selection committee and audience design consultant. She is associated with ANDAI (National Association of Independent Audiovisual Distributors).
Direção | Produção | Tutor
Graduated in Cinema from the University of São Paulo, Cesar Cabral works as a director, animator and producer in projects for Cinema and Television. He is a partner in the production company Coala Filmes. His resume includes the award-winning short films “Dossiê Rê Bordosa” and “Tempestade”, as well as the TV series “Angeli the killer”. He was the leader of the Creative Center Coala Filmes / FSA, and is currently producing his first feature film, scheduled for release in 2019, and in pre-production for the second season of “Angeli the killer”.
Comissão de Seleção | Tutor
Francine Barbosa is a screenwriter. In the film industry, she was part of the screenwriting teams for the feature film “A Cidade Aqui Dentro”, directed by Matias Mariani, and for Dea Ferraz’s third feature film, “Castela” (currently being financed). The script for the feature film “Azul Violeta”, written with Maurilio Martins, was selected for development by PRODAV FSA 05/2016. In television, she was a screenwriter for the series “A Revolta dos Malês” and developed serial projects for several production companies. She has participated in selection committees for audiovisual projects such as ProAC-SP and the Ministry of Culture, as well as short film festivals. She has been a screenwriting teacher since 2015.
Tutor | Comissão de Seleção
Gabriella Mancini, 43, is a film and television screenwriter, graduated in Screenwriting from the Regular Course at EICTV, Escuela Internacional de Cine y Televisión de Cuba (2005-2007). For more than five years, she was script coordinator at Conspiração Filmes (RJ), where she developed animation and live action projects for adults and children. In addition to writing for several production companies, she provides consulting services on the subject. She has won important awards as a screenwriter, such as the Fundación Carolina Scholarship (2008), in Madrid. She was a reporter for the children’s supplement Folhinha (Folha de S.Paulo). She wrote the children’s book Na Rua da Aquarela (2011, ed. Girafinha).
Tutor
Marcelo Starobinas is a screenwriter and script consultant. He holds a Master’s degree in Fiction Screenwriting from Columbia University and is dedicated to training new authors with his Feature Film Workshop (in São Paulo) and Character Development workshops. He co-wrote the feature film Jean Charles, and is currently a screenwriter for the series Carcereiros and Pico da Neblina. Before diving into audiovisual writing, he dedicated himself to journalism, with stints in the newsrooms of Jornal da Tarde, O Estado de S. Paulo, Folha de São Paulo and BBC World Service, in London.
Direção | Tutor
Maria Clara Escobar is a filmmaker, screenwriter and poet. She directed and wrote the films Desterro, which premiered in the Tiger Competition at the Rotterdam International Film Festival, and the documentary Os Dias Com Ele, where she investigates the life of her father, who was tortured during the military dictatorship, which was released in commercial theaters and also on DVD by the Moreira Salles Institute. Maria Clara also wrote and directed the short films: Onde Habito, from Sesc ConVida, Passeio de Família, winner of the Porta Curtas award, and Domingo, and is co-writer of the films Ontem Havia Coisas Estranhas no Céu, by Bruno Risas; and Histórias Que Só Existe Quando Lembradas, by Julia Murat. Maria Clara also works as a script and editing consultant and as a jury member for public notices and festivals. Maria Clara has published the books: Fear, Fear, Fear (Nosotros, Editorial, 2019), A New Sea Inside Me (Ed. Quelônio, 2021) and War Zones (Nosotros, Editorial, 2022).
Tutor
Live-action and animation producer Nara Aragão holds a degree in Social Communication and a Master’s degree in Communication from UFPE. She was a partner at REC Produtores Associados from 2015 to 2017, when she co-founded Carnaval Filmes in Recife with João Vieira Jr.
She has produced 7 feature films and 2 TV series, in addition to being the executive producer of 3 other feature films and 1 series. Among her main works are the feature films Viajo porque preciso, volto porque te amo (Marcelo Gomes and Karim Aïnouz), Paloma and Estou me guardando para quando o carnaval chegar (Marcelo Gomes), Tatuagem and Fim de Festa (Hilton Lacerda).
In animation, she produced the series Bia Desenha (TV Cultura, TV Brasil, Canal Futura) and the short film Mergulhão, and produced and directed the short film Um Pequeno Grande Dia (Anima Bruxelas, Buff Malmö and Psaroloco – Atenas). She is a producer and screenwriter for the Contos de Mungará series (in development) and one of the authors of the children’s book Menino Onça, Onça Menino, published in 2025 by Editora Boitatá.
She was President of the Brazilian Association of Animated Cinema – ABCA between 2021 and 2023. In 2025, she was one of the featured producers at the Producers Network of the Cannes Film Festival.
Direção Geral | Comissão de Seleção | Tutor | Palestrante
Director of BrLab, producer, curator and founding partner of the production company Klaxon Cultura Audiovisual. He has worked as a programmer in cultural spaces such as MIS-SP, Cinemateca Brasileira and Cine Olido, in addition to having produced and programmed numerous exhibitions and festivals. He works as a coordinator of courses and training platforms, such as the Prodav 04 Project Development Laboratories for ANCINE/FSA, in addition to BrLab, which he created and has directed since 2011. Through Klaxon, he produced and co-produced the films Sobre Rodas (2017), by Mauro D’Addio; Diz a Ela que me Viu Chorar (2019), by Maíra Bühler; and co-produced the films Contactado (2020), by Marité Ugás; Fiebre (2022), by Elisa Eliash, Zafari (2024), by Mariana Rondón, among others.
Palestrante | Tutor
Teodoro Poppovic is a screenwriter and director. He graduated in film and began his career at MTV Brazil. He was one of the writers responsible for the network’s comedy programs, such as Comédia and 15 Minutos, winners of the APCA award. With Cao Hamburger, he made the program No Estranho Planeta dos Seres Audiovisuais and created three more series: Família Imperial, Pedro e Bianca and Que Monstro te Mordeu?. For these projects, he won international awards such as the Prix Jeunesse and the Emmy. In 2017, he released his first feature film, Transtornada Obsessiva Compulsiva, directed in partnership with Paulo Caruso. The film was shown at festivals such as SXSW, PÖFF Tallinn and the Transilvânia Film Festival. As a screenwriter, Teodoro has worked with O2 Filmes, RT Features, Gaumont, Boutique, Gullane, Conspiração and created and wrote the series Destino SP/RJ (HBO), Segredos de Justiça (Globo) and Nobody is Looking (Netflix), which is nominated for an International Emmy in 2020. In 2019, he launched his series Feras (MTV/Globoplay) as general director and screenwriter. He won a Paradiso Scholarship to attend the Cine Qua Non Lab’s Screenwriting Revision Laboratory in Spain in Mexico in 2020.
Comissão de Seleção | Palestrante
Fernanda De Capua created and directed the sitcom Insustentáveis, wrote the screenplays for the series A História Delas and Turma da Mônica – Origens, and the feature films A Suspeita and Virtuosas. She was a consultant for the scripts for Saudade Fez Morada Aqui Dentro, Gabriel e a Montanha, and for more than 20 projects in the Prodav 04 labs. Among her achievements as a producer, the films Sonhos de Peixe, Casa Grande and Quem Matou Eloá stand out.
Palestrante
Throughout his career, Rafael has specialized in entertainment law, with an emphasis on intellectual property, a topic that was addressed in his master’s thesis in business law, from Milton Campos/MG, where he also studied law. Today he is Vice-President of the Intellectual Property Committee of the OAB/MG, in addition to being a law professor in the postgraduate course in Cultural Management at the UNA/MG University Center, in the postgraduate course in cultural management at the State University of Minas Gerais – UEMG and in the Professional Development Program “Photography and Culture” at PUC/MG. He is the coordinator and co-author of the book “Law and Culture: Legal Aspects of Cultural Management and Production”. He also has a degree in theater from UFMG. His areas of expertise are entertainment law, copyright, trademark law, unfair competition, audiovisual law, fashion law and arts law.
