In this article, I will discuss Brazil and its current film industry. I will elucidate its role in the Brazilian economy, as well as the government's share in the industry itself. Some Brazilian films will be given as representations of my theories. Less than a year after the Lumière brothers' “first experiment” in Paris in 1896, the cinematographic machine appeared in Rio de Janeiro. Ten years later, the capital had 22 cinemas and the first Brazilian feature film, The Stranglers by Antonio Leal, was screened. Since then, the Brazilian film industry has continued to progress and, although it has never been larger, its production has attracted international attention over the years. In 1930, still during the era of silent cinema in Brazil, Mario Peixoto's film Limite was made. Limite is a surrealist work dealing with the conflicts raised by the human condition and the way in which life conspires to prevent its full development. It was considered a landmark film in the history of Brazilian cinema. In 1933, Cinedia produced The Voice of Carnival, the first film starring Carmen Miranda. This film marked the beginning of the “chanchada” which dominated Brazilian cinema for many years. Chanchadas were burlesque comedies, usually filled with musical numbers and very popular with the audience. By the late 1940s, Brazilian cinema had become an industry. The Vera Cruz Film Company was established in Sao Paulo with the aim of producing films of international quality. She hired foreign technicians and brought back from Europe Alberto Cavalcanti, an internationally renowned Brazilian filmmaker, to run the company. Vera Cruz produced some important films before its closure in 1954, among them the epic O Cangaceiro which won the "Best Adventure Film" award at the Cannes Film Festival in 1953. In the 1950s, Brazilian cinema radically changed the way he made films. In his 1995 film, Rio 40 Graus, director Nelson Pereira dos Santos used the cinematic techniques of Italian non-realism by using ordinary people as actors and taking to the streets to shoot his low-budget film. He would become one of the most important Brazilian filmmakers of all time, and it was he who prepared the ground for the Brazilian movement of “cinema novo” (an idea in his head and a camera in his hands). In 1962, “novo cinema” had established a new concept in Brazilian cinema. "Cinema novo" films dealt with themes related to acute national problems, from conflicts in rural areas to human problems in big cities, as well as film versions of important Brazilian novels. At the end of the 1960s, the tropicalist movement had taken hold