As Brazilian Cinema Thrives, Rio Wants to Be the World’s Next Great Filmmaking Hub
The Brazilian film community is still buzzing over the acclaim they received across the Cannes Film Festival in 2025. Kleber Mendonça Filho was named Best Director for his The Secret Agent, and Wagner Moura was named Best Actor for leading the same film, marking the first time a Brazilian actor and director have won major awards at Cannes. This achievement is a testament to the strength and resilience of contemporary Brazilian cinema, which has been building momentum over the years.
Filho's layered, nuanced political thriller showcased the depth and complexity of Brazilian storytelling, building on the success of Walter Salles' I'm Still Here, which won the Oscar for Best International Feature Film in 2024. The film's global recognition has put Brazil on the map as a significant player in the international film industry.
The buzz around Brazilian cinema continues to grow, with the country's role as Country of Honor at the 2025 Marché du Film being a significant milestone. Brazilian production company RT Features is leading the way with two high-profile projects: Dominga Sotomayor's La Perra, a lyrical tale of a woman haunted by childhood trauma, and Paper Tiger, an international crime drama directed by James Gray, starring Adam Driver and Scarlett Johansson. These projects are generating excitement and anticipation within the industry.
Ilda Santiago, executive director of programming and international projects at the Festival do Rio, believes that Brazilian cinema is gaining recognition and confidence, but emphasizes that this is not a new phenomenon. She states, 'As much as we might see it as a surprise, it is not. We have lived through bad and good years, in government, public policies, and internal issues. However, creativity and the desire to tell stories never failed us, as well as the strength to keep going. So Brazil's industry became stronger and more resilient, and now we can be more confident that our stories do have an interest for the world.'
Santiago and her team are showcasing five projects in post-production stages at the Goes to Cannes program on May 15, hoping to emulate the success of Cíntia Domit Bittar's project Virtuosas, which claimed the initiative's top prize in 2025. This year's slate includes Jeferson De's biopic Carolina Maria de Jesus, Jo Serfaty's eco-themed drama Beyond the Edge, Maju de Paiva-Bernardo Florim's horror Days of Fire, Thais Fujinaga's family drama Talented, and the Fábio Mendonça-helmed thriller The Character. These projects highlight the diversity and creativity within the Brazilian film industry.
The Festival do Rio is also hosting various events to promote Brazilian cinema and attract international attention. The Dejeuner Carioca lunch, an invitation-only event, will feature speakers including Santiago, Alex Medeiros, and Gabriel Jacome, who are key figures in the Brazilian film industry. The Matinee Bresil program on May 18 will showcase panels and presentations, further positioning Brazilian audiovisual content on the global stage.
Santiago emphasizes the cultural significance of Rio de Janeiro in Brazilian cinema, stating, 'Rio de Janeiro has always been at the heart of Brazilian cinema. It was a meeting point for the great energy and talent during the Cinema Novo movement, a time of cultural effervescence in Brazil which drastically changed our perception of the world — and of ourselves — in the 1960s. Over the decades, Rio has become a recognizable postcard for Brazil, and the backdrop for a slew of productions and for the discussion of Brazilian cinema’s politics.'
The city's creative legacy, Santiago argues, is now a competitive advantage. She believes that Rio's ability to reflect the country's social contrasts and diversity, as well as its passion and fantasy, makes it a desirable location for filmmakers. The city boasts a strong audiovisual ecosystem, including production companies, studios, and talent, and has been used as a backdrop for blockbusters like Fast Five and The Incredible Hulk. Last year, Rio hosted 28 international productions, and the official claim is that 90 percent of the country's office revenue came from films produced in the city from 1995 to 2024.
Incentives for filmmakers include an injection of the equivalent to 30 percent of audiovisual production expenses by RioFilme into 'eligible expenses within the city of Rio de Janeiro,' while 'for production proposals where the city of Rio de Janeiro is the main location, the amount invested by RioFilme may correspond to 35 percent.' Santiago explains, 'Riofilme— through the Rio Film Commission— offers a solid cash rebate and the logistical support for any production. From locations to studios and high-level equipment: it's all here. We are eager to welcome crews and creatives from all over the world and from other parts of Brazil. Special co-production agreements can also be considered depending on the project.'
The results are already evident. Santiago notes, 'Rio has ranked high [globally] on the number of shooting days over the last years, and the number of international productions coming here to use the city in different locations is growing. We are working on making Rio the preferential hub for audiovisual, in the same way that it is a strong reference for Brazilian cinema globally.'
In conclusion, as Brazilian cinema continues to thrive and gain international recognition, Rio de Janeiro is positioning itself as a leading filmmaking hub. With its rich cultural history, strong audiovisual ecosystem, and supportive incentives, the city is attracting filmmakers from around the world. The future of Brazilian cinema looks bright, and Rio is at the forefront of this exciting development.
