Retina Latina. Digital platform for streaming Latin American

Where
Colombia
When
2020
Who
Directorate of Cinematography of the Ministry of Culture of Colombia, entity in charge of coordination and technical secretariat - COLOMBIA
Bolivian Film and Audiovisual Development Agency (Adecine) - BOLIVIA
Institute of Film and Audiovisual Creation of Ecuador- ICCA - ECUADOR
Directorate of the Audiovisual, Phonography and New Media of the Ministry of Culture of Peru - PERU
Mexican Institute of Cinematography - IMCINE - MEXICO
ICAU-National Film and Audiovisual Directorate of Uruguay -URUGUAY
Describe the main features of the policy/measure: 

* Retina Latina is a digital platform for streaming Latin American cinema on the internet; it is public in nature and ant its access is free and legal for citizens of Latin America and the Caribbean.
* The platform has been in operation since March 4, 2016 and the Inter-American Development Bank supported its implementation.
* Retina Latina emerged as a multilateral cooperation project of public Latin American film institutes to generate concrete actions through regional integration and a common venue for the dissemination of Latin American cinema: this in response to distribution difficulties due to the lack of a consolidated regional market, to the concentration of national products in local markets, which makes their distribution in neighbouring markets a challenge, and to insufficient regional coordination mechanisms in the sector.
* It has a catalogue of cinematographic works from Bolivia, Colombia, Ecuador, Mexico, Peru and Uruguay, as well as a selection from the International School of Cinema and Television of San Antonio de Los Banos, Cuba and special exhibitions with strategic allies like film festivals and agents from the Latin American film sector.
* Each month a special thematic film is showcased and new films and articles are uploaded to the portal, which to date has more than 350 articles about the film industry in Colombia and Latin America.
* 8% of the catalogue is openly available to the world, which has given international reach to Latin American cinema, especially in countries such as Germany, the United States, Switzerland, Spain, and France, which belong to the 40 countries that visit Latin America the most.
* Free access to films: Users residing in Latin America and the Caribbean, the region in which the largest number of films in the catalogue is available, must register by filling out a form or through their social network accounts (Facebook or Twitter).
* Portal access and navigation: The homepage and the other original content offered (news, reviews, interviews, articles) can be accessed without registration and from anywhere in the world.
* The platform is a space for users in Latin America and the Caribbean to enjoy a representative panorama of the diversity of Latin American cinema and to expand their knowledge of the history and current state of movie making in the continent through reviews, critiques, essays, interviews and multimedia complementary to the films.
* Training component. Conecta: Distribution Laboratory for Latin America and the Caribbean: Retina Latina's first training initiative within the framework of the Bogota Audiovisual Market BAM (July 8 to 11, 2019), Conecta is a space aimed at 30 young creators from Latin America and the Caribbean with the aim of reinforcing their skills in the distribution of film productions through innovative strategies for the circulation of content on multiple screens, including digital screens. The 30 young participants came from Bolivia, Brazil, Chile, Colombia, Costa Rica, Ecuador, El Salvador, Guatemala, Mexico, Nicaragua, Peru, Puerto Rico, the Dominican Republic, and Uruguay.
The eight experts in traditional distribution and exhibition represented the following companies: Festival Scope (global platform for professionals, festivals and VOD services, France), FIGA Films (Sales Agency for Latin American productions, Brazil), Cinepolis KLIC (iVOD Platform, Mexico ), Under The Milky Way (Digital aggregator for OTT platforms, Brazil, Canada, France), Storyboard Media (Producer and distributor, Chile), Europa Cinemas (Network of European Movie Theatres, France) and Cineciutat (Self-managed alternative cinema, Spain).

The workshop was organized by the Ministry of Culture of Colombia with the support of the UNESCO International Fund for Cultural Diversity in association with the Bolivian Film and Audiovisual Development Agency - ADECINE; the Institute of Cinema and Audiovisual Creation of Ecuador- ICCA; the Directorate of the Audiovisual, Phonography and New Media of the Ministry of Culture of Peru; the Mexican Institute of Cinematography of Mexico - IMCINE; the National Cinema and Audiovisual Directorate of Uruguay -ICAU, and the collaboration of the Bogota Audiovisual Market, Proimagenes Colombia, the Chamber of Commerce of the City of Bogota and the Regional Centre for the Promotion of Books in Latin America and the Caribbean- CERLALC.
* Application for mobile devices: Retina Latina has an application for mobile devices with Android and iOS operating systems that allows to see the films found on the website www.retinalatina.org as well as all the relevant information on the cinematographic works.

What are the results achieved so far through the implementation of the policy/measure?: 

Retina Latina's achievements include:

* Retina Latina, as a public platform for streaming Latin American cinema is a pioneer in its digital screen model for the circulation of film production in the region.
* North-South and South-South international cooperation in alliance with sector leaders (film institutes) and stakeholders of the Latin American film ecosystem (producers, film schools, distributors, festivals).
* Co-distribution agreements for cinematographic content between public entities in accordance with the guidelines of their policies to strengthen the film industry.
* The project strengthens the mobility, participation and skills of young Latin American filmmakers and it improves the flow and access of Latin America films in a dynamic of networking and regional integration.
* Greater visibility and mobility of stakeholders in the sector and digital diffusion of Latin American cinema in domestic and transnational markets.
* Access and appreciation of Latin American cinema in a digital environment that offers a unique guarantee and enjoyment of cultural rights for citizens of Latin America and the Caribbean, and even for the rest of the world (8% of the contents of Retina Latina is available worldwide).

Financial resources allocated to the policy/measure in USD: 

$2.565.437

Partner(s) engaged in the implementation of the measure: 
Name of partnerType of entity
Directorate of Cinematography of the Ministry of Culture of Colombia, entity in charge of coordination and technical secretariat - COLOMBIA
Public Sector
Bolivian Film and Audiovisual Development Agency (Adecine) - BOLIVIA
Public Sector
Institute of Film and Audiovisual Creation of Ecuador- ICCA - ECUADOR
Public Sector
Directorate of the Audiovisual, Phonography and New Media of the Ministry of Culture of Peru - PERU
Public Sector
Mexican Institute of Cinematography - IMCINE - MEXICO
Public Sector
ICAU-National Film and Audiovisual Directorate of Uruguay -URUGUAY
Public Sector
Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

There was an assessment by an external evaluator as part of the closing of reports in the wake of the support received by the Inter-American Development Bank-IDB. This evaluation was carried out in 2017. We quote some of the conclusions and recommendations issued by the evaluator, Fernando Vicario, in his final report:

Main strengths, weaknesses, opportunities and threats detected in the implementation of the programme:
We understand the strengths and weaknesses as internal processes, that is, those that can be exploited and solved by the programme's own management. When we talk about opportunities and threats, we are referring to the external circumstances that exceed the competency limits of those who manage and execute the programme.

STRENGTHS

The programme has shown a great capacity for execution.
There is unanimity between all participants on the need to continue addressing the task ahead.
Much progress has been made in detecting situations that can help the initiative grow.
The work group has been settled and progress is being made in a stable manner.
Countries have recognized in their diagnoses the need to promote distribution and exhibition.
The platform is fully online and operational.
Much has been accomplished in a short time.
There is brand recognition.
A cultural rights perspective has been included.
The audience's demands have been better heard.
A dynamic space capable of building activities of all kinds has been created.

WEAKNESSES

There are no stable channels of funding.
An independent body with a legal structure capable of providing continuity has not been created.
There is no intention on the part of producers to be generous towards the initiative.
Stable modes of communication and diffusion have not been generated.
Stable marketing actions have not been taken.
No business model has been proposed.
The viewing habits of the audience are not well known.
Work has not begun on a common legislative framework.
The International Relations initiatives required by a project of this magnitude have not been fully explored.

OPPORTUNITIES

It is a good moment to open digital windows in Latin America.
The competition that may exist does not target a large audience.
Of all existing platforms, none has the institutional support of Retina Latina.
Entering as a Regional Public Good (IDB) in the service sector opens new doors.
Technology has become a collective challenge for Latin America.
There are many partners to involve.
Opening of paths to explore the relationships between the public and the private.

THREATS

Large international portals are not going to facilitate these initiatives.
There is opposition on the part of the private sphere to the fact that all the initiative falls on the public sphere.
There is no spirit of real innovation in the Latin American culture sector.
Cultural institutionality is weak.
The service sector has not focused on cultural projects as part of its development.
There is no stability in international relations.
There is no real political will to promote legislation that supports the initiative.