2024-01-18 17:10:59
Axel Kuschevatzky explained the consequences that the approval of omnibus law for the Argentine economy and culture: “If the scenario changes and there is no reason for foreign investment in Argentina, It would essentially be a loss for the country.. When Argentine cinema transcends, it brings investment“said the filmmaker in Modo Fontevecchiaby Net TV, Radio Perfil (AM 1190) and Radio Amadeus (FM 91.1).
Axel Kuschevatzky is a film producer, screenwriter, journalist specializing in film and was awarded an Oscar for the film 2El Secreto de sus Ojos. Yesterday he participated in the exhibition of social actors in the commission that deals with the omnibus law megaproject.
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I would like you to put the audience in context regarding your vision of what it would mean for culture and cinema if the omnibus law were approved.
There is a lot of fantasy and manipulation regarding film financing. You already know that if you go on social networks A kind of “battlefield” is generated. So, the first thing I want to highlight is that the capital that makes films in Argentina is mostly private. From Argentina and other countries, because our country co-produces with other countriesand many times it does not even have a peso invested that is public.
For example, a movie like Argentina 1985 It did not have any participation of public funds. It is made only with private funds. But, since 1994, Argentina has had a film law that helped develop a lot of talent. Normally, in an Argentine film, the so-called INCAA funds represent a percentage. AND That percentage is what allows attracting private and international investment. Where does the INCAA funding come from? Radio and television, for the use of the spectrum, have to pay a fee. Of that fee that is paid, 25% goes to promote audiovisual production. If tomorrow someone were to say, as the Government is proposing, that this fund is not going to be used anymore, it is not going to happen that they will charge you less for the cable service, because ENACOM is going to continue collecting that money.
At the same time, the other source of financing is 10% of each ticket you buy. That is If you don’t watch cable television or go to the movies, you are not contributing to audiovisual production at all.. So, when the Government makes a proposal to modify and remove that 25% of revenue so that audiovisual production and other issues are no longer encouraged, those of us who work on this believe that they do it without asking why this exists and what the logic is. or how it works in other countries.
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What I tried to tell the people in Congress was that The major film-producing countries, including the United States, have ways of promoting audiovisual production.
The audiovisual sector in Argentina contributes a number that ranges from 3 to 5 percent of the GDP, what it produces is very large. But if you don’t have conditions, Foreign investment does not come, it goes the other way. For this reason, the United States, Canada, France, England, Italy, Chile, Uruguay, Mexico and Colombia, to give some examples, have incentive models for audiovisual production, it is not a whim. We want there to be more investment, let’s not scare it away, because that way dollars also come in, as so much is requested.
What happened to you when you saw Milei’s speech in Davos?
Discussing socialism seems to me from another era. It sounds like a Cold War talk.something before the fall of the Berlin Wall.
From that it is clear that he considers everything that you are defending as socialism, with the interventionism of the State in the market.
Chances are he or the people around him think that. Now, when I describe 70% of the states in the United States, it doesn’t occur to me to say that they are very socialist. Or describe the Conservative government in England as socialist. But, beyond that, the tax benefit measures that I propose are industrial measures that are not burdened by any particular ideology.
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When Milei says that there are no market failures, he is even criticizing the Chicago School of Economics, positioning Milton Friedman almost as a socialist. And, for him, any intervention by the State ends up being harmful, because the market is perfect. Obviously, I share with you that his economic perspective is from the end of the 19th century. I hope that at least the deputies will reconsider by listening to your arguments. What reception did you have there?
I work essentially in other countries and in the last four years, since we founded a company with my partner, we have dedicated ourselves to bringing capital to Argentina. We didn’t go to ask the public sector to pay us for a film. If the scenario changes and there is no reason for foreign investment in Argentina, it would essentially be a loss for the country. Not only in cultural terms, where last year there were Argentine directors awarded internationally and all that attracts money to Argentina. When Argentine cinema transcends, it brings investment.
And the most impressive thing is that these positions are anti-industry and even anti-Argentina, because If you do not contribute to capital income you are impoverishing people. And what I am proposing is pure capitalism, it is not socialism. So, what I want is for people to discuss the issues, not for us to agree on everything. It seems like we’re just talking regarding movies, but we’re talking regarding production and economic activity as well.
Commercialism and selfishness have always existed. Capitalism would be a refined version of that.
And we can agree that intelligent capitalism might exist.
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The thing is that capitalism was an intelligent advance and, therefore, we should always strive to improve it. But here we have something that looks like anarcho-capitalism, which is pre-capitalism.
In the end, regulations are social agreements. And many times the regulations get old and have to be discussed once more and changed. Even contemporary monarchies generate social agreements.
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