Audience design session at BrLab 2019
Bella Tozini
As São Paulo-based development and training hub BrLab gears up for its 15th anniversary edition in 2026, one of Latin America’s most influential project labs has opened submissions and unveiled a raft of changes designed to expand its reach, deepen its support for emerging talent and push sustainability up the regional agenda.
The 15th BrLab will run April 7-14, primarily in São Paulo, with satellite activities in Brasilia and Recife. Producers, directors and writers from across Latin America, Spain and Portugal will convene for a week of labs, market encounters and open-industry programming.
Applications for its four 2026 workshops – BrLab Features, BrLab Rough Cut, BrLab Audience Design and the new BrLab Kids – are free and open from Nov. 12 to Dec. 12, 2025 via the lab’s website.
“For us, every edition is an opportunity to identify what’s being imagined across the region,” says BrLab founder, director and curator Rafael Sampaio. “The industry trusts us with new ideas year after year.”
Founded in 2011 and organized by Klaxon Cultura Audiovisual, BrLab has grown from a small workshop for Latin American features into a compact but influential platform, more training hub than full-blown market, yet firmly embedded in the regional calendar for projects looking to sharpen their creative and financial strategies.
Supported by institutions such as the Ibermedia program, Projeto Paradiso and Spcine – and now Petrobras as a multi-year sponsor – BrLab receives more than 400 submissions annually, curated by a professional selection committee.
As of 2025, 62 features that passed through its various sections have been produced and released, 17 more are in post-production and another 10 are financed for production through 2026. By next year the tally of completed films linked to the lab is expected to approach 90.
Many have premiered at top-tier festivals, including Cannes, Venice, Berlin, San Sebastián, Locarno, Sundance and Toronto. Recent standouts include “The Mysterious Gaze of the Flamingo,” which won the top prize at Cannes’ Un Certain Regard; “Levante” (Cannes Critics’ Week 2023); “Légua,” which screened at Cannes’ Directors’ Fortnight; Sundance title “Los Tiburones”; Berlinale competition multi-prize winner “Las Heiresses”; and San Sebastián Golden Shell laureate “Los Reyes del Mundo.” “The Wolf Behind the Door,” selected in BrLab’s very first edition in 2011, later bowed at Toronto and San Sebastián, announcing a new talent to track in Fernando Coimbra.
Avoiding the Crowded Fall Festival Corridor
Starting with this 15th edition, BrLab has permanently shifted from its traditional October slot to early April. The move is designed to avoid the crowded fall festival corridor and give projects more time to polish scripts and cuts before premiering in the back half of the year.
“This change creates a more useful rhythm for project development,” Sampaio says. “We want our selected teams to take full advantage of the international circuit, and April positions them well to do that – especially for the Rough Cut Lab.”
In 2021, BrLab launched BrLab CoPro, a curated boutique co-production forum aimed at galvanizing new partnerships with Brazil and other Latin American territories. The forum invites producers, funds, sales agents and broadcasters looking to structure cross-border packages at a time when co-production has become essential for financing and circulation.
This platform is deepening BrLab’s role as a connector not only of talent but of the institutional and industrial players that can actually get films made.
Flagship Labs and Audience Design
The program’s backbone remains BrLab Features, focused on fiction features from Latin America plus Spain and Portugal. 12 projects will receive mentorship on script, direction, production and distribution from a roster of regional heavyweights. Longtime backer Programa Ibermedia, a partner since the first edition, will once again offer participation grants to selected teams.
Running in parallel, BrLab Rough Cut caters to fiction and documentary features in the editing stage from across the Ibero-American world, pairing each project with an editing tutor and a small group of peers to help fine-tune the cut and position the film for festivals, sales and distribution.
After an initial phase centered on Brazil, BrLab’s Audience Design program returns with a broader remit, now open to the whole of Latin America and the Iberian Peninsula. Inspired by methodologies Sampaio first encountered at TorinoFilmLab, the workshop helps teams think strategically about audiences from development onwards, mapping core and secondary viewers and plotting release paths that can combine festivals, theaters, platforms and alternative circuits.
“In Brazil everyone talks about ‘creating new audiences,’ but for years people have become disconnected from our own cinema — they’re simply not educated to see themselves on screen,” Sampaio explained. “That’s why we need spaces like BrLab, where Latin American narratives and histories can be developed and protected, even as we keep one eye on the market, because being represented on screen is a right.”
Kids Lab in Recife
The biggest new innovation now announced for 2026 is BrLab Kids, a new workshop dedicated to film and series projects for children and young audiences, which will unspool in Recife. The initiative responds to what Sampaio sees as a chronic lack of specific public policy and institutional support for kids content in Brazil and much of Latin America.
“If children don’t grow up watching Latin American stories, they won’t feel connected to our history and our cinema when they become adults,” he argued.
Projects selected for BrLab Kids will receive tutorship from writers specialized in young audiences, including Janaína Tokitaka and Gabriella Mancini, alongside pedagogical consultants. Recife-based producer Nara Aragão will oversee production mentoring.
For Sampaio, the kids strand is closely linked to the audience-design push, offering a space to tackle the challenges of family titles competing with U.S. studio fare while trying to build a loyal local audience for regional stories.
Green Initiative With Petrobras
Backed for the first time by Petrobras as presenting partner and lead sponsor, BrLab’s 15th edition will also launch a sustainability push. Curated by pioneering green-production specialist Ariane Ferreira, the lab has assembled Think Tank BrLab Petrobras, together with Cinema Verde Festival, an initiative to adapt emerging international eco-standards to Latin American realities and to encourage local institutions to integrate environmental criteria into film funding.
Sampaio points to new European reports and incentive schemes around greener film and TV production as a reference, but stresses that Latin America is starting from a different baseline. The aim, he says, is to convene the industry around practical steps that can be progressively adopted in the region.
“In many cases, the only real green practices in our region are happening on big international streamer shows that arrive with their own protocols,” he says. “If we can pilot ideas in the audiovisual sector, that can also inspire changes in other parts of society.”
Co-Production Hub in a Rebounding Brazil
BrLab’s 15th edition comes as Brazilian cinema experiences renewed momentum. After years of funding paralysis, minority co-production schemes have been revived and Brazil is once again fast consolidating as a sought-after partner on major Latin American projects, often in combination with European finance.
“Today, foreign projects can come to BrLab to find Brazilian minority co-producers,” Sampaio notes. “When we launched, Ibermedia was practically the only co-production avenue. Now there are multiple funds, and the lab has become a natural meeting point.”
Audience design session at BrLab 2019
Bella Tozini
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The United Nations Human Rights Council (UNHRC) abruptly cut off a video statement after the speaker began criticizing several United Nations officials, including one who has been sanctioned by the Trump administration. The video message was being played during a U.N. session in Geneva, Switzerland, Friday morning.
Anne Bayefsky, director of the Touro Institute on Human Rights and the and president of Human Rights, called out several U.N. officials in her message, including U.N. High Commissioner for Human Rights Volker Türk and special rapporteur Francesca Albanese, who is the subject of U.S. sanctions.
Secretary of State Marco Rubio announced sanctions against Albanese July 9, 2025, saying that she “has spewed unabashed antisemitism, expressed support for terrorism and open contempt for the United States, Israel and the West.”
“That bias has been apparent across the span of her career, including recommending that the ICC, without a legitimate basis, issue arrest warrants targeting Israeli Prime Minister Benjamin Netanyahu and former Defense Minister Yoav Gallant,” Rubio added.
Secretary of State Marco Rubio and Francesca Albanese (Getty Images)
“I was the only American U.N.-accredited NGO with a speaking slot, and I wasn’t allowed even to conclude my 90 seconds of allotted time. Free speech is non-existent at the U.N. so-called ‘Human Rights Council,’” Bayefsky told Fox News Digital.
Bayefsky noted the irony of the council cutting off her video in a proceeding that was said to be an “interactive dialogue,” an event during which experts are allowed to speak to the council about human rights issues.
“I was cut off after naming Francesca Albanese, Navi Pillay and Chris Sidoti for covering up Palestinian use of rape as a weapon of war and trafficking in blatant antisemitism. I named the prosecutor of the International Criminal Court, Karim Khan, who is facing disturbing sexual assault allegations but still unaccountable almost two years later. Those are the people and the facts that the United Nations wants to protect and hide,” Bayefsky told Fox News Digital.
“It is an outrage that I am silenced and singled out for criticism on the basis of naming names.”
Bayefsky’s statement was cut off as she accused Albanese and Navi Pillay, the former chair of the U.N. Independent International Commission of Inquiry on the Occupied Palestinian Territory; and Chris Sidoti, a commissioner of the U.N. Independent International Commission of Inquiry on the Occupied Palestinian Territory. She also slammed Khan, who has faced rape allegations. Khan has denied the sexual misconduct allegations against him.
Had her video message been played in full, Bayefsky would have gone on to criticize Türk’s recent report for not demanding accountability for the “Palestinian policy to pay to kill Jews, including Hamas terror boss Yahya Sinwar who got half a million dollars in blood money.”
When the video was cut short, Human Rights Council President Ambassador Sidharto Reza Suryodipuro characterized Bayefsky’s remarks as “derogatory, insulting and inflammatory” and said that they were “not acceptable.”
“The language used by the speaker cannot be allowed as it has exceeded the limits of tolerance and respect within the framework of the council which we all in this room hold to,” Suryodipuro said.
The Human Rights Council at the United Nations in Geneva, Switzerland, Feb. 26, 2025. (Denis Balibouse/Reuters)
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In response to Fox News Digital’s request for comment, Human Rights Council Media Officer Pascal Sim said the council has had long-established rules on what it considers to be acceptable language.
“Rulings regarding the form and language of interventions in the Human Rights Council are established practices that have been in place throughout the existence of the council and used by all council presidents when it comes to ensuring respect, tolerance and dignity inherent to the discussion of human rights issues,” Sim told Fox News Digital.
When asked if the video had been reviewed ahead of time, Sim said it was assessed for length and audio quality to allow for interpretation, but that the speakers are ultimately “responsible for the content of their statement.”
“The video statement by the NGO ‘Touro Law Center, The Institute on Human Rights and The Holocaust’ was interrupted when it was deemed that the language exceeded the limits of tolerance and respect within the framework of the council and could not be tolerated,” Sim said.
“As the presiding officer explained at the time, all speakers are to remain within the appropriate framework and terminology used in the council’s work, which is well known by speakers who routinely participate in council proceedings. Following that ruling, none of the member states of the council have objected to it.”
Flag alley at the United Nations’ European headquarters during the Human Rights Council in Geneva, Switzerland, Sept. 11, 2023. (Denis Balibouse/File Photo/Reuters)
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While Bayefsky’s statement was cut off, other statements accusing Israel of genocide and ethnic cleansing were allowed to be played and read in full.
This is not the first time that Bayefsky was interrupted. Exactly one year ago, on Feb. 27, 2025, her video was cut off when she mentioned the fate of Ariel and Kfir Bibas. Jürg Lauber, president of the U.N. Human Rights Council at the time, stopped the video and declared that Bayefsky had used inappropriate language.
Bayefsky began the speech by saying, “The world now knows Palestinian savages murdered 9-month-old baby Kfir,” and she ws almost immediately cut off by Lauber.
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“Sorry, I have to interrupt,” Lauber abruptly said as the video of Bayefsky was paused. Lauber briefly objected to the “language” used in the video, but then allowed it to continue. After a few more seconds, the video was shut off entirely.
Lauber reiterated that “the language that’s used by the speaker cannot be tolerated,” adding that it “exceeds clearly the limits of tolerance and respect.”
Last year, when the previous incident occurred, Bayefsky said she believed the whole thing was “stage-managed,” as the council had advanced access to her video and a transcript and knew what she would say.
A post on X by European Parliament President Roberta Metsola has triggered a wave of misinformation linked to the EU’s €90 billion support loan to Ukraine, which is designed to help Kyiv meet its general budget and defence needs amid Russia’s ongoing invasion.
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Hungary said earlier this week that it would block both the loan — agreed by EU leaders in December — and a new EU sanctions package against Moscow amid a dispute over oil supplies.
Shortly afterwards, Metsola posted on X that she had signed the Ukraine support loan on behalf of the parliament.
She said the funds would be used to maintain essential public services, support Ukraine’s defence, protect shared European security, and anchor Ukraine’s future within Europe.
The announcement triggered a wave of reactions online, with some claiming Hungary’s veto had been ignored, but this is incorrect.
Metsola did sign the loan on behalf of the European Parliament, but that’s only one step in the EU’s legislative process. Her signature does not mean the loan has been definitively implemented.
In December, after failing to reach an agreement on using frozen Russian assets to fund Ukraine’s war effort, the European Council agreed in principle to provide €90 billion to help Kyiv meet its budgetary and military needs over the next two years.
On 14 January, the European Commission put forward a package of legislative proposals to ensure continued financial support for Ukraine in 2026 and 2027.
These included a proposal to establish a €90 billion Ukraine support loan, amendments to the Ukraine Facility — the EU instrument used to deliver budgetary assistance — and changes to the EU’s multiannual financial framework so the loan could be backed by any unused budgetary “headroom”.
Under EU law, these proposals must be adopted by both the European Parliament and the European Council. Because the loan requires amendments to EU budgetary rules, it ultimately needs unanimous approval from all member states.
Metsola’s signature therefore does not amount to a final decision, nor does it override Hungary’s veto.
Budapest says its objections are linked to a dispute over the Druzhba pipeline, a Soviet-era route that carries Russian oil via Ukraine to Hungary and Slovakia.
According to the Centre for Research on Energy and Clean Air (CREA), Hungary and Slovakia imported an estimated €137 million worth of Russian crude through the pipeline in January alone, under a temporary EU exemption.
Oil flows reportedly stopped in late January after a Russian air strike that Kyiv says damaged the pipeline’s southern branch in western Ukraine. Hungary disputes this, with Prime Minister Viktor Orbán accusing Ukraine of blocking it from being used.
Speaking in Kyiv alongside European Commission President Ursula von der Leyen and European Council President António Costa, Ukraine’s President Volodymyr Zelenskyy said the pipeline had been damaged by Russia, not Kyiv.
He added that repairs were dangerous and could not be carried out quickly without putting Ukrainian servicemen in danger.
Tensions escalated further after reports that Ukraine struck a Russian pumping station serving the pipeline. Orbán responded by ordering increased security at critical infrastructure sites, claiming Kyiv was attempting to disrupt Hungary’s energy system.
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