Spcine auditorium - Jardins level

Festival used to be where the content came from after it was done. Today is where he's born, viralizes and sells before the premiere. CCXP, created in December 2014 by Omelete Company, has transformed a pop culture convention into a vending machine, today it brings together about 120 brands per edition and is where studios and streaming prefer to debut trailer, cast and panel to hold traditional press conference. The Sato Company has brought this logic into the house: Ghibli Fest, its own re-screening event in cinemas, has already brought over 20 films from Studio Ghibli back to the Brazilian rooms, supported by a fan base that the distributor cultivates year by year at conventions such as Anime Friends and Carioca Matsuri, without depending on any third party festival.

The Rio2C went in the same direction, but along a distinct path: instead of a brand building its own festival, the market built a festival of its own. Born in 2010 as Rio Content Market, focused on audiovisual, the event was reinvented in 2018 as Rio2C, expanding the scope for music, games, fashion and technology. The 2026 edition, the largest in history, brought together 55,000 people over six days in Art City, with Netflix and Disney+ side by side defending more investment in Brazilian production. The event has also incorporated the festival within itself: Festivalia, open weekend to students and young professionals, mix workshops, masterclasses and brand experiences, the same CCXP and Ghibli Fest playbook, only operated by those who organize the market, and not by a single distributor or studio.

This panel sits down who builds and distributes these formats inside, Omelete/CCXP, Sato Company and Rio2C, to discuss whether the festival is the new standard of content release or a model too expensive to exist outside a studio major, a billionaire platform or the organized market itself. For the distribution sector, the question is practical: if the public already expects trailer with pyrotechnics, panel with cast and queue at dawn, what remains for the launch of a film or series without festival budget?