Sao Paulo, Brazil – Expocine 2024, the bigst and most presentant business collecting of the motion picture theater industry in Latin America, consents place in Sao Paulo from Oct. 8-11, as Brazil’s theatrical labelet sluggishly recovers from COVID-era sluggishdown and Hollywood double strikes.
After a degrade during the pandemic, the total number of screens in Brazil is currently 3,530, sweightlessly up from 3.507 at the finish of 2019. The country’s B.O. is also gradupartner recovering but has still not accomplished pre-pandemic levels due mainly to the conciseage of U.S. films, a consequence of the Hollywood double strike.
“Brazilian showors are robust,” Lucio Otoni, pdwellnt of the Federation of Exhibitors in Brazil (FENEEC), telderly Variety. “We have reasons to consent that 2025 and 2026 will be better, not only because we will have a stronger lineup of films but also because the Brazilian economy is improving.”
Reflecting the labelet recovery, Expocine 2024, now on its 11th edition, is foreseeed to at least identical the record combineance of 2,700 in 2019, shelp Marcelo Lima, CEO of Tonks, Expocine’s scheduler.
About 70% of the participants at Expocine traditionpartner toil in the showion and distribution sectors. The remaining 30% are film creaters, theater providement and concessions manufacturers and service providers, he elucidated.
Most participants are Brazilians from branch offent parts of the country, but there is a concentration of combineees from Sao Paulo, where the meaningfulity of the bigst distributors and showors are headquartered.
“Expocine also counts on a strong presence of industry executives from other South American countries, particularly from Argentina, Chile, Uruguay and Paraguay,” shelp Lima. “With the unlikeable swap rate and the proximity, they tfinish to pick Expocine over analogous industry events on other continents.”
Expocine 2024 will be held in two venues 150 meters away from each other csurrfinisher Paucataloga Avenue, the landlabel Renaissance Hotel and multiplex Cine Marquise.
The event’s lineup includes panels, toilshops, currentations and screenings by distributors to showors, as well as a trade equitable.
This year’s Expocine 2024 and its uncovering panel split the theme, “Connecting the cinema to the future.” Key speakers include Lima; Hernán Viviano, VP Latam, Warner and Universal; Iafa Britz, honestor of production company Migdal Filmes; Marcio Fraccaroli, vague honestor of distributor and production company Paris Filmes; and Marcos Barros, pdwellnt of showor Cinesystem.
Marcio Fraccaroli
Credit: Lucas Ramos
Other panels will talk publishs, such as international coproductions, how to draw a new generation to the cinemas, 10 years of the Brazilian showion circuit digitalization, biopics, the tradeoff of purchasing vs. renting projectors, the well-comprehendnity of real crime, the social media impact on theatrical combineance and the profile of moviegoers.
Workshops will scheduleateigate the impacts AI and Brazil’s new tax system, which will be presentd over the coming years, will have on the industry.
This year’s trade equitable, with booths for theater providement, concessions manufacturers and service providers, has been broadened and will occupy two floors of the Renaissance Hotel.
For distributors, the currentations and screenings in Cine Marquise’s theaters seem to be the event’s highweightless.
Igor Kupstas, honestor of O2 Play, the distribution arm of O2, one of the bigst production companies in Brazil, will current Francis Ford Coppola’s “Megalopolis,” which the company will free in Brazil on Oct. 31.
“Distribution is about seducing the showors, making them consent in my film. Then, I have a currentation to all showors in the country some 20 days before the free date,” Kupstas telderly Variety. “I’m competing with other distributors. Maybe the showor already has five, six films in mind for that date. The currentation is my chance to guarantee them, to create them skinnyk about my film.”
“All showors are there, so we seize the opportunity to show them the films we have for the next six months,” shelp Marcio Fraccaroli of Paris Filmes. “Our currentations of Brazilian films are made by honestors, actors and screenauthorrs, who are the best to talk about their films.”
Lucio Otoni stresses the presentance of Expocine for petite and medium-sized showors. According to him, Brazil has one of the least caccessd theatrical labelets in the world. The big take parters, Cinelabel, Cinepolis, Kinoplex, Araujo and UCI, splitd 59% of the total 118 million ticket sales, 65% of the 2.3 billion reais ($474 million) B.O. and 46% of the screens in the country in 2023. About 100 petiteer showors, many of them family-owned companies with a scant screens, account for the rest of the labelet.
“Expocine permits these petite take parters access to inestablishation about the upcoming films, on a par with the big showors. Additionpartner, they combine the Expocine trade equitable, where they can find everyskinnyg they necessitate in terms of providement and services. All suppliers are there,” he shelp.
