Pupilo at MICBR 2025: encounters that widen networks, territories and possible futures
Pupilo took part in another edition of the Brazilian Creative Industries Market (MICBR 2025). It was a space for listening, networking and building bridges between audiovisual work, education and the territories that run through what we do.
Selected through the Ministry of Culture’s Public Call No. 3/2025, Pupilo attended the event as a buyer, focusing on expanding strategic partnerships, circulating content and developing projects connected to childhood, diversity, education and social impact.
Organized by the Ministry of Culture, MICBR is today one of the main meeting points between creative industry players from Brazil and abroad. More than a series of business rounds, the event creates an environment where ideas circulate, methodologies cross paths and networks grow stronger.
For Pupilo, being at MICBR meant getting access to different ways of making audiovisual work, from experimental cinema to children’s animation, from immersive experiences to training in public schools.
Over the three days of the event in Fortaleza, Pupilo took part in business rounds with production companies, collectives and businesses from across Brazil and abroad. The conversations pointed to shared interests in co-productions, distribution, training activities and educational projects.
During those rounds, Pupilo spoke with production companies and collectives from different regions of the country, strengthening ties with initiatives aligned with educational audiovisual work, childhood and social impact. Among them were A Casa do Rio (Rondônia), which presented Pela Água Sempre, a project on Amazonian water, Brazilian mythology and environmental impact; Paideia (São Paulo), focused on impact films about Brazilian identities, Blackness, LGBTQIA+ diversity and content for children and teenagers; Olho de Vidro (Salvador), a reference in genre cinema, workshops and festivals for women; and Memorabilia Filmes (Bahia/Sergipe), which runs the Mostra de Filmes de Rua street film showcase and accessibility initiatives such as Mostra Curtas Libras. Also taking part were Cine Deia and Akan Produções (Fortaleza), both strongly active in audiovisual training and social projects; Descalzo Audiovisual (Caruaru), with short films such as Em Vigília, Nordeste: Água e Óleo and Creuza; Levante Filmes (Niterói), notably with the preschool animation Hugo e Serena; Filme Simples (Rondonópolis), with LGBT showcases and Indigenous documentaries; plus initiatives such as Somos Instantes (Jaraguá do Sul), WW Filmes (Petrolina), Bando de Brincantes (Porto Alegre), Fontele (Brasília), Cine Diáspora (Belém), Mira-Lumo, Kocria Audiovisual, Ruidosa Alma, Renderframe Produções and Rapadura Atômica (Cascavel), which presented projects on animation, childhood, territory, diversity, education and distribution in public schools.
Internationally, Pupilo opened strategic conversations with initiatives from Angola and Spain, widening the prospects for co-production and cultural exchange. Aprocima (Angola) expressed interest in Brazil-Angola co-productions, film distribution and audiovisual training workshops, with notable work in animation. Ibercover Studio (Madrid) presented its arts training center for children and its projects in immersive experiences and virtual reality, especially around Spanish heritage sites.
Beyond the business rounds, the programme included training sessions and talks on how the contemporary audiovisual market works. The panel “Culture in flux: globalization, streaming platforms and the new audiovisual economy” offered key insights into the role of streaming platforms as the new gatekeepers and content distributors, shaping what we watch through recommendation algorithms and decisions about original production. It also addressed the new audiovisual economy and the shift from the traditional cinema and cable television model to on-demand consumption (SVOD, AVOD), including changes in how productions are financed, subscription models, audience measurement and the rise of “streaming wars” over viewers’ attention.
These debates fed directly into Pupilo’s strategic repositioning, reinforcing how important it is to make content with a local identity that can still speak to different audiences and platforms.
The assessment of taking part in MICBR 2025 is clear: a highly positive impact. The event strengthened collaboration networks, opened paths for future partnerships and reaffirmed the power of audiovisual work as a tool for education, social change and building more plural imaginaries.
We continue to believe in public cultural policy as a driver of access, exchange and permanence.
