Union & Non-Union Talent Management

Here is how this works in practice. Brazilian union talent running routes through SATED (Sindicato dos Artistas e Técnicos em Espetáculos de Diversões), ordered state-by-state. SATED-RJ covers Rio de Janeiro state and SATED-SP covers São Paulo state, with SATED unions in other states. SINDCINE, the film and audiovisual workers' union, negotiates crew collective agreements in São Paulo with the producers' union SIAESP.

Here is the breakdown. On the ground, the Associação Brasileira de Cinematografia (ABC) is the cinematographers' professional association, not a union. Under Lei 6.533/1978, performers and technicians need a professional registration with the Ministry of Labour, and companies that hire them register too. CLT obligations and any applicable collective-agreement clauses apply wherever cast or crew are engaged as employees.

Here is the short of it. Cross-border union liaison expands the scope a lot. US cast, directors, writers and crew who are SAG-AFTRA, DGA, WGA or IATSE members bring their own guild obligations to a Brazilian shoot, and we plan for them alongside the local rules.

Here is what that looks like on the ground. On the ground, payroll for CLT-engaged cast and crew carries INSS employer social-security contributions on top of gross pay, FGTS deposits at 8% of monthly pay, 13º salário accrual, paid-vacation accrual and aviso prévio reserves, and overtime is paid at the statutory CLT premium. Co-productions with Mercosul partners (Argentina, Uruguay, Paraguay) and Chile bring in the partner country's own unions and labour rules. Festival eligibility for Festival de Gramado Kikito awards routes through ANCINE-registered shoots exclusively.