Reunião do Comitê Gestor do Fundo Setorial do Audiovisual (Foto de Filipe Araújo)

Em 10 dias, no próximo dia 14 de maio, finda o mandato de Vinicius Clay, diretor da Agência Nacional de Cinema (Ancine), e a vacância do cargo, que garante 5 anos de poder audiovisual para um indicado, começa a esquentar os bastidores da disputa política. Clay integra um grupo que foi indicado por Jair Bolsonaro, por sua vez atendendo a postulações do Centrão do Congresso Nacional – em especial, como cota da deputada Soraya Santos, do PL do Rio, e do senador Eduardo Girão, do Partido Novo do Ceará, também bolsonarista e afeito à área.

As mudanças serão ainda mais acentuadas no dia 10 de outubro, quando expira o mandato do longevo Alex Braga, diretor-presidente da agência, no poder desde agosto de 2019 – inacreditáveis 7 anos no cargo, também indicado por Bolsonaro. Para a chefia da agência, a bolsa de apostas de especuladores aponta o nome de Antonia Pellegrino, recém-nomeada presidente da Empresa Brasil de Comunicação (EBC). Os observadores acreditam que a nomeação para a EBC já foi uma catapulta armada para entronizar Antonia, com longa carreira de roteirista de cinema, na Ancine, em outubro.

Os dois diretores que estão de saída foram nomeados diretores da Ancine pelo ex-presidente Jair Bolsonaro em 2021 e, pela legislação de agências reguladoras, não poderiam ser destituídos pelo atual governo até o fim de seus mandatos. A diretoria da Ancine é formada por 4 diretores, e o governo Lula indicou até agora dois novos diretores: Paulo Alcoforado e Patricia Barcelos. Não se sabe ainda o nome que será proposto para o cargo que Vinicius Clay deixará vago, mas FAROFAFÁ recolheu, nas fontes do setor, o nome de Fabricio Antenor Pereira, assessor do secretário executivo do Ministério da Cultura, Marcio Tavares.

Os votos dos dois indicados por Lula, até agora, eram insuficientes para assegurar a condução de políticas públicas do órgão, e há mesmo informações de bastidores que dão conta de que a resistência é muito pouco convincente da parte de um dos diretores que entrou. A tramitação do PL do Streaming pelo Congresso foi um passeio dos interesses estrangeiros até agora, e o texto que está em vias de ser votado no Senado Federal atende a todas as principais demandas do governo neoimperialista de Donald Trump, submetendo o audiovisual brasileiro a uma dominação (de conteúdo e faturamento) sem precedentes. Na Ancine, é como se o assunto não existisse (à exceção de manifestação solitária de Paulo Alcoforado, contestada por Alex Braga publicamente).

O novo diretor a ser indicado deve criar uma maioria antes mesmo de Alex Braga sair do posto. O nome a ocupar o cargo, que exercerá até 2031, deverá ser indicado pelo presidente Lula e se espera que tenha um viés progressista e de defesa do interesse nacional em sua atuação. Mas o fato é que a movimentação no Congresso Nacional, que culminou recentemente com a rejeição do nome do advogado-geral da União para o STF, mostra que aumentou a interseção de interesses a serem negociados para que o governo Lula consiga avançar em suas políticas públicas. As direções das agências podem entrar em alguma negociação.

A própria deputada Soraya Santos, madrinha dos bolsonaristas da Ancine, chegou a pleitear recentemente um cargo no Tribunal de Contas da União (TCU), mas perdeu a indicação. Em campanha pelo filho candidato de Bolsonaro, Flávio, Soraya anda chacoalhando a bandeira da representatividade feminina nos órgãos de governo e no STF, mas o governo que ela apoiou, o de Jair Bolsonaro, teve apenas duas mulheres ministras em 22 pastas, 9% do total, um dos menores índices do mundo na época. E, ao indicar ministros ao Supremo e ao TCU, Bolsonaro indicou apenas homens. Soraya talvez ainda não tivesse ouvido falar em representatividade feminina àquela época. Flávio Bolsonaro, que Soraya apoia, fez vídeo de apoio ao único plano de difusão cultural do governo de Jair Bolsonaro, o projeto-fantasma Casinha Games, com atos condenados pelo TCU e que nunca saiu do papel.

A história certamente vai recuperar o que representou esse período de dominação bolsonarista na Ancine para a condução do ambiente de fomento e regulação do cinema brasileiro, já que uma parte expressiva da cobertura de imprensa passou batida na cobertura dos desmandos. Chegou-se a falar abertamente não apenas na extinção da própria Ancine, mas também da Condecine, imposto que abastece o Fundo Setorial do Audiovisual, cerne da política de estímulo ao cinema brasileiro.

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