AUTEURS AUDIOVISUELS CONFÉDÉRATION INTERNATIONALE

The gender panel at the latest   AVACI  Assembly examined the situation of women and sexual minorities in the audiovisual industry across different countries. Among the issues discussed were the limited presence of LGBTIQ+ themes in today’s audiovisual narratives, the lack of gender parity on film sets, and the scarcity of a faithful representation of women’s economic realities. Within the framework of the 2025 Annual Assembly of the International Confederation of Audiovisual

With a career firmly established both in Argentina and internationally, Marcelo Piñeyro  is a key voice for reflecting on the present and future of the audiovisual sector from a perspective that connects creation, author’s rights, and collective experience. The current vice president of   DAC  — Directores Argentinos Cinematográficos — and honorary president of the International Confederation of Audiovisual Authors ( AVACI ), the director of emblematic Argentine films such as

Renowned South Korean film directors, united in the Directors Guild of Korea , warn that the current legal framework prevents audiovisual authors from receiving income from the exploitation of their works on OTT platforms and call for a structural reform that guarantees patrimonial rights and residual payments. In a powerful video released publicly, South Korean directors and screenwriters—including Dong Hoon-Choi , JK Yoon , July Jung , Heon Seok-Baek , Joon-Ik Lee , Hae-You

In Bolivia, the audiovisual sector is going through a period of transformation. Alongside a recent growth in film production, filmmakers themselves are working to build a structure capable of defending and managing their author’s rights. In this context,   FILMAR  was created — a collective management society founded by audiovisual creators and producers seeking to organize the collection and distribution of rights for directors, screenwriters, and producers. By Ulises Román

AVACI Congress: a meeting defined by artificial intelligence The AVACI Congress, held in Zagreb, Croatia, once again placed the relationship between human creativity and artificial intelligence at the center of the debate. In this context, director and screenwriter specialized in AI Christoph Behl  analyzed the accelerated evolution of generative tools in audiovisual creation and called for recognizing authorship in the generation of prompts, a task he considers part of the c

During the AVACI – FESAAL Congress held in November, three audiovisual directors were honored for their commitment to audiovisual author’s rights, and a tribute was paid to Colombian director Camila Loboguerrero, who passed away in june. The annual Congress of the International Confederation of Audiovisual Authors —AVACI—  and the Federation of Latin American Audiovisual Authors’ Societies —FESAAL—  held on November 4, 5, and 6 in Zagreb, Croatia, presented the Grand Honor Aw

With the presence of multiple directors, screenwriters, author’s rights lawyers, and invited authorities, the annual meetings of the Latin American Audiovisual Authors Societies Federation ( FESAAL ) and the Audiovisual Authors Internacional Confederation ( AVACI ) were held in the city of Zagreb, Croatia, during the first week of November. The collective management society DHFA  – Croatian Film Authors' and Producers' Association was the host society. “It is an honor to welc

As we bring another year together to a close, the International Confederation of Audiovisual Authors wishes to acknowledge the path we have traveled and the strength of a network that, beyond geographical distances, continues to grow and consolidate. The recent gathering in Zagreb, Croatia, was a clear expression of this sustained effort: a space for exchange, reflection, and shared projection for Audiovisual Authors from around the world. Our joint work over the years is pro

The city of Zagreb will host, in November, the Congress of the   Federation of Latin American Audiovisual Authors’ Societies (FESAAL)  —on the 4th— and the Congress of the   International Confederation of Audiovisual Authors (AVACI)  —on the 5th and 6th— with the   Croatian Film Directors’ Guild (DHFA)  serving as the host organization. By Ulises Román Rodríguez This gathering will bring together leading figures from the audiovisual field around the world and will place at th

Audiovisual creators across Latin America and the world bid farewell to Camila Loboguerrero —filmmaker, pioneer, educator, and tireless...

South Korea has taken the world by storm with its audiovisual productions, yet creators still do not receive fair compensation. Yoon Jung Lee , screenwriter, director, chair of the Author’s Rights Committee of the   DGK  and second vice president of the   International Confederation of Audiovisual Authors (AVACI) , outlines the challenges and progress in this ongoing fight for recognition. By Ulises Rodríguez “Passion pay”: the hidden cost of the Korean audiovisual boom The g

In the past decade, Panama’s audiovisual sector has undergone a period of growth driven by the 2012 Film Law, which established a framework to support production, post-production, and distribution through competitive funding programs. This boost led to an increase from an average of one or two films per year to between six and eight feature films annually, in addition to documentaries and short films. Works such as Plaza Catedral  (by Abner Benaim, 2022), which reached the se

Alexandra Cardona Restrepo  is a is an audiovisual and literary writer, director and producer and the current president of REDES , the...

Eight years after the enactment of the Pepe Sánchez Law , Colombia stands out as a regional leader in the recognition of authors’ rights...

On June 9, 2017, the Congress of the Republic of Colombia enacted a law that would forever change the destiny of the country’s audiovisual creators. Law 1835, known from its inception as the Pepe Sánchez Law , in honor of the legendary Colombian director, screenwriter, and actor, finally recognized a fundamental right: the right to receive fair remuneration for the public communication of their works. Until then, Colombian directors and screenwriters—unlike their European cou