André Sturm, president of the Audiovisual Industry Union of the State of São Paulo and general director of the Museum of Image and Sound, hopes that the union between companies is prevented by the bodies that guarantee the competitiveness of the market and welcomes the arrival of Paramount in the conflict
André Sturmpresident of Union of the Audiovisual Industry of the State of São Paulo (SIAESP) and general director of Museum of Image and Sound (MIS)expect Netflix-Warner deal is prevented by the organizations that guarantee the competitiveness of the market and welcome the arrival of Primordial in the dispute.
The traditional film studio made a $77.9 billion bid to buy all of Warner’s stock, threatening Netflix’s $72 billion proposalin a fight whose resolution is expected to reshape the entire entertainment industry for decades to come.
“Netflix’s purchase of Warner is a big deal. Warner is one of the studios with the most extensive collections and a company that has supported, invested in and distributed great filmmakers for decades, and prioritizes theatrical release – something Netflix despises,” says Sturm, who is also a director and screenwriter, having recently completed the feature film. The Condor Conspiracywhich is scheduled for release on the commercial circuit in March 2026.
When announcing Warner’s takeover, the streaming giant said it would maintain the studio’s operations, including its theatrical releases. However, during a conference with investors on Friday (5), Netflix co-CEO Ted Sarandos said that cinema viewing windows would “evolve”, implying that the length of films on the big screen would decrease – sparking fears in the industry. Last Monday 8, Sarandos changed his tone and said that the company “is committed to releasing films the same way they do today.”
streaming PL
A cultural activist, Sturm is an organizer of PL of streamingwhich was approved by the Chamber of Deputies and will soon be voted on in the Federal Senate. Bill 8889/2017 aims to regulate video-on-demand services.
Sturm believes that it would be the most important project in the history of Brazilian audiovisual. “The law creates a quota obligation for Brazilian content on the platforms. So, they are obviously obliged to buy this content, which generates an economic movement,” he explains.
The official believes that the main obstacle to this issue is misinformation, since many parliamentarians oppose the proposal out of pure ignorance, confusing it with a simple “streaming tax”, when in reality it would be a promotion mechanism.
“All audiovisual sectors contribute to this royalty called CONDECINE (Contribution to the Development of the National Cinematographic Industry). Open televisions pay, closed televisions pay, mobile phone companies pay, cinemas pay,” he explains. “But 60% of the value of this royalty, the platforms will be able to keep and use the money to buy Brazilian content,” he adds.
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