You've worked with cinema businesses across several international markets. How would you describe the South American theatrical landscape today? What makes these markets unique compared to North America or Europe?

South America has always been a little bit behind in terms of technology, and honestly, that's exactly why there's so much potential here right now for what Qube can do and what Qube can deliver in LATAM. We are extremely excited to be part of that story!

If you compare us to North America or Europe, I think South Americans need to be a bit more creative when it comes to investment in technology, simply because our margins are lower here than they are in Europe or North America. So, you must find ways to stay in shape, both economically and technologically, and those ways are not always straightforward. It takes resourcefulness. It takes patience. And honestly, it takes a bit of “fe” (faith) too, because you are building for a future you can see coming but haven't fully arrived yet.

Brazil and Argentina have vibrant local film industries alongside major Hollywood releases. What is the content consumption pattern that you see in the region and how do you see it evolve in the coming years?

The numbers tell a beautiful story here. In Brazil, national films went from about a 3% share of admissions in 2023 to over 10% in 2024, and that is no accident, that films like Im Still Here and The Secret Agent are connecting with audiences and with the world. Argentina is currently more modest, with national films sitting around 7 to 9% of admissions with a long-standing tradition of production as well as 2 academy awards.

For me, this question goes deeper than percentages. I truly believe there is no cinema industry without a vibrant local film industry. It’s that simple. This is key to developing markets around the world, and it doesn't happen by accident; it requires a comprehensive development strategy. Governments need to put education and culture policies at the front of the agenda. Businesses need to accompany that journey, not just watch from the sidelines. And the creative industry needs to deliver stories that resonate with local culture, but that also have enough legs to travel around the world.

That's the balance we are all chasing, no? Stories that feel like home, but that can also cross borders.

Independent cinemas continue to play an important role across South America. What are the biggest opportunities and challenges for independent exhibitors as audience expectations continue to evolve?

The biggest challenge is being able to come out of the day-to-day view and look ahead, to strategize into what's possible. It's hard to plan for tomorrow when today already takes everything you have!

But there are real advantages to being independent too. There is a great sense of entrepreneurship in independent exhibitors, and they can achieve changes fast, much faster than bigger, more layered operations. The challenge is that this same independence can make them more conservative, less prone to trying new things, because the margin for error can turn expensive very quickly. So, is this beautiful tension between wanting to move fast and needing to be careful. I have so much respect for exhibitors who manage to hold both at once.

From a distributor's perspective, what are the biggest operational challenges when releasing films across such geographically diverse markets? Where do you see the greatest opportunities for improving efficiency?

Just being able to reach all the locations at the same time can be extremely difficult in countries like Argentina, Chile, or Brazil. We are talking about 3,000 kilometers of distance between one end of the country and another! Satellite options, although widely spread, come with restrictions around timing, weather-related delivery issues, and cost. On the other side, hard drives to these locations can mean the cinema is essentially running a second run of the movie by the time it arrives.

So, the opportunity, the way I see it, is being able to provide distributors with an alternative delivery method that works consistently and keeps improving, while also expanding the variety of content a distributor can deliver. That gives the exhibitor the possibility to schedule more movies and more events than ever before. It is about giving people options, and options change everything.

As electronic content delivery becomes increasingly important, how can solutions like Qube Wire help distributors?

It helps distributors reach cinemas in real time. It reduces costs, and it takes away those stressful last-minute content send-offs that can cancel shows and create friction with exhibitors; friction nobody wants, on either side of that relationship.

For studios with ESG responsibilities, this can also help reduce their carbon footprint, which matters more every year. And you can use the same box for the delivery of live content, which is more relevant now than ever. It's not just about movies anymore, it’s about connection, in real time, wherever people are gathered to watch something together.

Qube has already established a growing presence in Brazil through its partnership with Auwe and works with major Hollywood studios as well as regional distributors. What opportunities do you see for expanding these collaborations across Latin America, and how does a larger connected network benefit both distributors and exhibitors?

Auwe is a great partner. They have years of experience working with Qube, with distributors, and with exhibitors across Brazil, and that kind of trust does not happen overnight. The region is independent, country by country, but it is also deeply interconnected, and we are working with potential clients in Brazil that can open up more opportunities across border countries too.

For distributors who hold rights for movies across different countries in LATAM, this reduces the number of steps to deliver content and process orders, which sounds simple but makes a real difference day to day. And for exhibitors, especially those managing NOCs from a different region entirely, it means they can reach and deliver content to the right places from one single location. It's about building a network where distance stops being the obstacle it used to be.

Looking beyond Brazil and Argentina, which emerging markets in Latin America are you most excited about?

Every country has its challenges. Argentina, my own country, is, as we always say here, “no lo vas a entender", a country you will never understand. And honestly, even for us it is a challenge, even having been born here!

But when you lift your head up from your own belly button, which is something we tend to do a lot in Argentina, "mirar solo para adentro", you find there are amazing places with incredible cinema developments happening. Colombia, Ecuador, Peru, Uruguay, these markets have so much potential, and I truly believe we can make a difference there, both with cinemas and with distributors. Theres a whole region waiting for us to look up and see it.