“The kiosk is over: the National Institute of Cinema and Audiovisual Arts (INCAA) It went from having a deficit of 15,270 million pesos during the year 2023 to a surplus of 7,238 million pesos in 2024 (amounts expressed to current values): this 2025 is projected that its accounts will also be positive. Greetings to all. End, ”he posted Manuel Adorni In his personal account of X.
The libertarian communicator joined the controversies of these last days on the management of Carlos Pirovano in the main regulatory body of national cinema. The message of the renowned spokesman for Casa Rosada supported what was disseminated by those responsible for the cinematographic entity, which explains the budget savings of the institute in detriment to credit support for audiovisual industrial production.
A controversial positioned with the recent premiere of Homo Argentumthe feature film for episodes of the duo Mariano Cohn – Gastón Duprat and starring Guillermo Francella, which focused on generating a dichotomy between popular cinema and independent cinema. Recently, in a television program, the president of INCAA claimed to support the brand new film, but clarifying that he had not seen it.
Since its appointment in February 2024, the management of Pirovano at the head of the entity aroused a wave of questions from different fronts of Argentine cinema. One of the most conflicting episodes was large -scale labor restructuring. On his first day in office, the dismissal of workers was ordered, including members of the project selection committees, which generated alarm among the cultural sectors. The collective “Unidxs for culture” He defined it as “an outrage” and pointed out that he affected those who worked under precarious contracts.
Subsequently, numerous dismissals were denounced, reducing the INCA template to less than half of people. This drastic reduction hit both the headquarters and Enerc, the Gaumont cinema and the Cinemateca. The workers grouped in ATE issued a strong statement after the resolution of March 31, which did not renew monotributist contracts, and qualified the measure as a “declaration of war to the national cinema. At that meeting, even the closure of platforms such as Cine.ar and Cine.ar Play, which passed to the portfolio commanded by Manuel Adorni, was discussed.
In the Official Gazette, the suspension of all kinds of economic support for national premieres, festivals, passages subsidies or promotional material was reported. These measures were described as an institutional “scratch”, especially in an agency that has autonomy and own financing thanks to the Development Fund. At the time, the Advisory Council also denounced that, for more than fourteen months, the agency was not summoned, avoiding the Federal Assembly that the Cinema Law demands.
The National Audiovisual Space (ENA), which groups entities such as CAIC, DAC and Argentores accused the current management of “not having approved a single Argentine film” during all 2024 and part of 2025. For its part, Apima echoed the claim, ensuring that “in 2024 there were ‘zero’ promotion of national films” and indicating that all the approved productions had been managed by previous administrations.
At the San Sebastián Festival of this year, Argentine directors such as Diego Lerman and actors such as Leonardo Sbaraglia expressed concern about the danger represented by INCAA cuts about local author cinema, warning that cultural identity could be compromised if current policies continued.
However, especially in social networks, activists and communicators related to the government highlighted the budget adjustments. According to shared figures in networks, the plant was reduced from 700 to 350 employees, sums were saved in rentals and supplies and an operational surplus was confirmed after years of deficit. But for the film sector, these adjustments meant the collapse of the national film production chain and the dismantling of vital structures for commercial and cultural dissemination.
So far from 2025, the production of national films was reduced by half compared to last year. A figure that shuds professionals committed to audiovisual culture. Until this moment, 102 tapes released in movie theaters, it is estimated that less than 40 were supported or partially financed of the INCAA. In 2024, the number of national films released in Salas reached almost 200 films of which almost half had passed through the institute.
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