After more than three decades under an outdated legal framework, Mexico’s audiovisual sector now has legislation that recognizes film and audiovisual creation as a cultural right and begins to shield creators from the impact of artificial intelligence. In April 2026, the Senate of the Republic of Mexico approved the Federal Film and Audiovisual Law. With 87 votes in favor, it closed the chapter on a cinematography law dating back to 1992: legislation conceived on the threshol

Representatives of FILMAR (Bolivia), ADG (Ecuador) and DACAP (Perú) visited Argentina to receive training in collective management of audiovisual rights from DAC and ARGENTORES. The exchange, promoted by AVACI and FESAAL, aims to strengthen the institutional structures of member organizations and consolidate a network of audiovisual authors equipped with concrete tools to defend their rights and establish collective management societies in their home countries. As part of the

In Serbia, UFUS AFA Protection has established itself as one of the most active audiovisual organizations in Eastern Europe. Its director, Stefan Gelineo, analyzes for AV Creators News the challenges of collective management, the fight for fair remuneration, and the strategic value of international cooperation in protecting audiovisual authors. By Ulises Román Rodríguez Serbia has an internationally recognized film tradition. Films such as Who’s Singin’ Over There? (Ko to tam

A delegation from AVACI traveled to Tokyo to advance the organization of the 2026 Annual Congress of FESAAL. Over the course of two weeks, they held meetings with Japanese directors’ and screenwriters’ associations, the Agency for Cultural Affairs, and Unijapan, strengthening strategic ties for a key gathering in the global defense of audiovisual author’s rights. In 2026, Tokyo will become the epicenter of the international discussion on audiovisual rights with the Annual Con