CPLP Audiovisual: Regional Alliances & Creative Growth
The global audiovisual landscape in 2026 presents challenges, marked by fragmentation and an intense search for resources. Within the Community of Portuguese Language Countries (CPLP), this reality is driving a strategic reorientation: the formation of regional blocs and smaller alliances is emerging as the most promising response to overcome the hurdles of traditional multilateralism and limited public funding.
Foto de Sora Shimazaki no Pexels
The Power of Regional Unity in the CPLP
This understanding was a cornerstone of the First International Audiovisual Conference of the CPLP, held in Lisbon. Ana Paula Laborinho, Director of the Ibero-American Organization for Education, Science and Culture (OEI) representation in Portugal, was emphatic, stating that in an increasingly dispersed geopolitical scenario, "if we don't have global multilateralism, we can have smaller associations, regional associations, associations between organizations."
The logic behind this collaboration is clear: the joint market formed by Portuguese and Spanish speakers, totaling around 850 million people, offers immense potential. Embracing international co-production models, as advocated by Laborinho, is not merely a funding strategy but a powerful economic tool to decentralize investments that have historically concentrated in a few hubs. For us at Bendita Filmes, this means opening doors for Brazilian talents and those from other CPLP countries to find pathways to realize their projects, without relying exclusively on major capitals or international players.
Co-production: More Than Money, a Meeting of Visions
In 2026, the discussion around international co-productions is gaining deeper dimensions. It's no longer just a mechanism for resource acquisition, but an authentic creative, cultural, and strategic convergence. A concrete example illustrating this vision is the Film Co-production Agreement between Brazil and China. Originally signed in 2017 and recently approved by the Federal Senate, this agreement allows films and audiovisual works produced in partnership by the two countries to be recognized as national productions in both markets. In practice, this simplifies bureaucratic processes and creates space for cultural and technical exchange, facilitating the circulation of works and the consolidation of new partnerships. For us Brazilian producers, it means gaining access to a vast market and opportunities for project development that previously seemed distant.
Direct Funding: A Safety Net for Independence
Alongside strategic alliances, the CPLP audiovisual market faces an inherent challenge: the absence of robust audiovisual policies and a significant financial gap in many countries of the bloc. This reality has led to an international alternative gaining momentum in 2026: direct funding to local creators. Funds from countries like France and the United States are already working to ensure the survival of independent projects, bypassing political inertia and state bureaucracy. This strategy, without requiring immediate governmental reciprocation, acts as a safety net for independent production.
The debate between direct funding for individuals and the need for state structuring is complex. While African and island nations in the CPLP face chronic difficulties in creating their own funds, countries like France, through the National Centre for Cinema and the Moving Image (CNC), already allocate specific resources. In 2026, the CNC will present a European fund dedicated to the training and development of authors and producers from Sub-Saharan Africa and Haiti, with a budget of €800,000 for the year. This reality prompts us to consider: how can we replicate this direct support model in Brazil, strengthening the autonomy and creativity of our independent filmmakers?
The Portuguese Model: A Cycle of Investment and Return
Portugal, in turn, has demonstrated a promising path with its audiovisual financing architecture. In 2026, the country detailed an investment of €50 million in incentives, with a package of €33.4 million allocated to selective support. This funding mechanism gained traction from the transposition of European directives, establishing fees on agents who profit from content exhibition. Streaming platform operators, cinema exhibitors, and pay-TV subscriptions are sources of revenue that directly feed national production. The logic, as highlighted by the Vice-President of Portugal's Institute of Cinema and Audiovisual (ICA), Manuel Claro, is clear: "Those who benefit from the existence and exhibition of audiovisual works will also have the obligation to contribute to their funding and production." This model, which ensures that profits generated by audiovisual content return to the audiovisual sector, is an example to be closely observed by us in Brazil, especially when considering the application of the Audiovisual Law and new funding sources.
The Future is Collaborative
In summary, the CPLP audiovisual scenario in 2026 is one of constant adaptation and innovation. Regional alliances, the exploration of direct funding models, and the consolidation of authentic co-productions are not just trends but urgent necessities. For Bendita Filmes, these movements reinforce our commitment to seeking and sharing knowledge that empowers Brazilian producers, screenwriters, and all audiovisual professionals, connecting our reality with the opportunities and challenges of the international market, and, most importantly, strengthening the voice and visibility of our cinema.
About Bendita Filmes
Bendita Filmes is a full-service video production company and agency based in São Paulo, Brazil, specializing in:
Corporate Videos · YouTube Production · Instagram & TikTok · Advertising Campaigns · Event Filming · VFX & Animation · Live Streaming · AI Video Production · Photography
