The approval of the new Cinematography and Audiovisual Law in Mexico marks an advance in updating the legal framework in effect since 1992; however, specialists warn that its benefits could be concentrated in large productions linked to digital platforms, without fundamentally resolving the sector's structural inequalities. According to producer and researcher José Ángel Villegas, the legislation represents a significant but insufficient step to correct decades of lag in the national film industry. Tax incentives favor large productions. One of the central points of the new law is the incorporation of tax incentives of up to 30% for audiovisual productions. While this measure seeks to stimulate investment, experts point out that the benefits are designed for projects with high budgets, close to 40 million pesos. In this context, the main beneficiaries could be streaming platforms like Netflix or Prime Video, as well as large production houses, leaving most of Mexican independent cinema at a disadvantage. High production, but low exhibition. Although Mexico produces over 200 films a year, nearly half do not reach commercial cinemas, due to the concentration of screens on large productions known as blockbusters. In some cases, these releases occupy up to nine out of every ten available screens, limiting the visibility of other cinematic proposals. While the law maintains screen quotas for Mexican cinema, it does not oblige commercial chains to program all national productions, which maintains the problem of public access. FOCINE gains legal certainty. Among the advances, the incorporation of the Mexican Film Promotion Fund (FOCINE) into the legal framework stands out, which gives it stability and continuity after the disappearance of trusts in previous administrations. This change provides greater certainty to financing schemes, although it does not fully resolve the sector's needs. Gaps in the audiovisual ecosystem. The legislation also leaves out key areas of the contemporary audiovisual environment, such as digital content creators, platform productions, social media content, and new formats. Specialists warn that this omission reflects a disconnect between the evolution of the industry and the design of public policies. Law does not resolve sector inequalities. Despite the advances, experts agree that the new legislation will not be sufficient to immediately transform the Mexican film landscape, marked by inequalities in production, distribution, and access to financing. They also point to the need to incorporate new voices, a gender perspective, and greater linkage with the academic community to build more inclusive public policies. The challenge, they warn, will be to prevent the benefits of the law from being concentrated in large productions and to ensure that independent cinema has real conditions for development and exhibition.
