Independent cinema or industry? The intersection of artistic expression and market in an ecosystem of unequal opportunities.
The world of film production is incredibly vast, ranging from assembly line-like production to small arthouse films driven by their own directors and producers with dodgy paths to funding and distribution.
Like any other industry, film production cannot escape the need to prioritize economic interests. Does this commercial logic affect the artistic vision of a film? Well, yes. When a major studio or a platform grants funding, there are certain standards and cinematographic language to stand for. Is the industry antagonistic to art? Certainly not. The elements that make a film interesting are in the ingredients, and no film is made without a compelling story as a base.
The cinematographic ecosystem involves multiple players across the audiovisual value chain with production, distribution, and exhibition. Some large studios and production houses make films, and also control the distribution and exhibition of their productions. With advertising machinery in place, they can ensure a movie enters the public conversation and generates interest. Smaller productions, without dedicated advertising budgets, face far greater challenges in capturing the public's attention. This is where the importance of mandatory screen quotas comes into play—so that a film made with the support of film institutes can be exhibited commercially and can at least recover the investment.
All Stories Matter
I Like Both
As the film director Mariano Llinás remarked in the Senate this year, Argentine cinema is prolific, both in commercial productions that are successful on streaming platforms and in smaller, more auteur films—the kind that represent the country at the world's most prestigious festivals.
They are both important and represent different tiers within a rich and diverse ecosystem. Cinema not only generates value and high-quality employment, but it is also a cultural asset that represents the country globally and communicates idiosyncrasy.
When we talk about the audiovisual industry, we’re referring to a commercial model of production, with preestablished financing channels and distribution windows. In the U.S., even independent cinema is a large industry. A major annual gathering place for the industry is the American Film Market, held in Las Vegas this year. It’s the venue where producers seek financing, partners or distribution, and sales agents or distributors discover films in progress and have the chance to support them through their journey.
In Argentina, we once emulated the Hollywood industrial model, and in the 1930s and 40s, we experienced a golden age with large studios and a local star system.
When a film is not pre-financed by a studio or platform, it’s considered an indie film. These films have an interest in film festivals, and Argentina is a prolific producer in this orbit. These movies, with smaller budgets but representing the majority of production in our country, is primarily sustained by public policies, and national and international film funds. Although the funding provided by the INCAA (National Institute of Cinema and Audiovisual Arts) was never enough to cover all costs, its support was crucial as an endorsement to secure further
resources from other entities. With the paralyzation of INCAA’s promotion office this year, provincial film funds and cash rebate programs from the provinces and the City of Buenos Aires have gained importance.
Independent cinema represents us brilliantly at world festivals like Cannes, Berlinale, Toronto, San Sebastián, Busan, and many others, creating a strong national brand. However, it competes under unequal conditions when it comes to screen time against the machinery of multinational companies.
Pre-selling distribution rights is another way of securing production funds. Markets like Ventana Sur, Marché du Film, and Industria are organized to facilitate these exchanges and are forums where producers and buyers meet to negotiate.
Many sales agents partner with film festivals and markets in project labs and competitions to find films in their early stages and see them through to completion. Participating in these conventions is a great way to introduce projects to the circuit and possibly secure a spot in an international festival. Film festivals are the ultimate endorsement for independent cinema, providing major opportunities to gather early positive reviews that will help in their commercial release in theaters.
In Argentina, the sector producing “commercial films” is small. It’s a select group of companies that invest continuously, have their own filming equipment and studios. On the other hand, there are medium-sized companies capable of undertaking productions of a certain scale, but lack infrastructure and, in many cases, permanent staff. Some are ad hoc production companies formed for a particular film, which tend to operate as cooperatives and
cannot function without public funding. This last group is the most numerous, accounting for about 90% of total production. That’s why we say that in our country we mostly have independent film; auteur cinema. A type of cinema driven primarily by the need to tell a story, bringing together people moved by that desire.
The creative freedom of independent cinema is displayed not only on-screen but also behind the scenes, in the ways funds are sourced for production, and in finding distribution channels and reaching audiences. Without a pre-established circuit, producers and directors must seek out alternatives, leaving room for imagination. In recent years, we’ve seen films like Germany (2023) by María Zanetti and The Agronomist (2024) by Martín Turnes which creatively engaged with audiences by taking their teams to meet viewers in theaters or at various festivals and film series all across the country.
The success of independent cinema is not only measured by its market value. Beyond entertainment, independent cinema serves as a space for cultural resistance and the circulation of new ideas. Its richness lies in its ability to challenge, move, and generate conversation and debate. This is why it is crucial to support and promote this kind of cinema, driven by the need to narrate: one of the most valuable cultural productions of our
region.
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Ariana Loker, founding director of Estudio Silver. �� Translation and subtitles for arthous
films. Reach new audiences and stand out at festivals. Get a quote: �
hola@estudiosilver.com