Mexico Proposes New Film, Audiovisual Law to Protect Against AI

Mexico is advancing a Federal Film and Audiovisual Law to replace the 1992 framework, introducing a 10% screen quota, mandatory streaming visibility, AI-related labor protections, and progressive public funding. The reform modernizes regulation amid digital market expansion, restores incentives removed in 2020, and affects exhibitors, streaming platforms, producers, and creative labor.

The Mexican federal government introduced the Federal Law of Film and Audiovisual initiative to replace the 1992 regulatory framework. This structural reform establishes a 10% screen time quota, mandates digital platform visibility, and creates labor protections for artists against AI.

Claudia Curiel de Icaza, Minister of Culture, Ministry of Culture, says the proposal addresses historical industry demands by transitioning the legal definition of film from a commercial commodity to a cultural right. This shift provides the necessary legal foundation to protect national identity and memory in an increasingly digital global market.

For over three decades, the Mexican film industry operated under the Federal Film Law. Published originally on Dec. 29, 1992, the law defined film as a coordinated effort of direction and script intended primarily for projection in theaters or reproduction for sale or rent. While the original text recognized the national industry as a cultural activity, it explicitly noted the commercial aspect as a characteristic feature.

The 1992 framework designated the federal executive branch as the authority responsible for the application and enforcement of the law. Subsequent reforms in May 1996 and Jan. 1999 attempted to integrate digital media, but the core of the legislation remained focused on physical formats and traditional exhibition spaces.

A significant disruption occurred on Nov. 6, 2020, when the federal government published a decree repealing Articles 33, 34, 35, 36, 37, and 38. This legislative move eliminated the legal basis for industry promotion and trust funds, which previously provided fiscal incentives and financial support for production, distribution, and exhibition. This deregulation created a period of uncertainty that the current initiative seeks to resolve by institutionalizing progressive federal funding.

The proposed Federal Law of Film and Audiovisual introduces technical parameters that impact the entire production chain, from creative development to digital distribution. 

First, the new initiative officially replaces the 1992 legislation, which the Ministry of Culture considers obsolete due to technological shifts. Article 1 of the previous law defined its scope as the promotion of production, distribution, and commercialization of films. The new text moves toward a rights-based approach, focusing on access to culture and democratic participation.

While the 1992 law included foreign and national films in any format, it relegated digital transmission to external regulations. The proposed reform integrates these modalities directly into its core provisions to ensure comprehensive coverage of the modern audiovisual ecosystem.

The initiative maintains the 10% minimum screen time for national films, a requirement established in Article 19 of the 1992 law. However, it introduces more stringent enforcement for exhibition companies. Under the previous system, national films were guaranteed a minimum release period of only seven days. The new proposal doubles this requirement to 14 days to improve the commercial viability of domestic productions.

Furthermore, the Ministry of Culture will implement weekly and semiannual reviews of the film listings. This mechanism ensures that exhibitors do not relegate Mexican films to unfavorable time slots, such as early morning or late-night screenings, which limit audience access. Curiel de Icaza says that exhibitors have shown total commitment to these rules, aiming for a balanced ecosystem where national content is visible alongside foreign blockbusters.

In the streaming field, as the United States and other global markets have moved toward digital-first consumption, the Mexican government is imposing new visibility requirements on these kinds of services. Platforms must now include an exclusive and easily locatable section dedicated to national productions.

Daniela Alatorre, Director, Mexican Institute of Cinematography, says this measure does not influence content creation but rather improves the discoverability of Mexican works within large digital catalogs. This requirement addresses the limitations of the previous law, which only vaguely mentioned digital media without providing specific mandates for service providers.

The reform also includes specific updates to labor legislation and copyright protections for the dubbing industry. The 1992 law required dubbing for foreign films to be performed in Mexico with local actors to preserve linguistic identity. The new initiative expands this to address the threat of AI.

The proposal recognizes the human voice as a unique artistic tool. Companies must obtain informed consent before using an actor’s voice or image and provide fair remuneration for such use. Any unauthorized use will result in sanctions. The National Copyright Institute (INDAUTOR) will manage conflict resolution through expedited mechanisms, strengthening its role as the primary body for protecting the rights of composers, directors, and performers.

Lastly, to replace the incentives lost during the 2020 repeal of the promotion articles, the law guarantees annual and progressive federal support. This funding model ensures that budget allocations for film and audiovisual projects increase based on availability, providing stability for independent producers.

President Claudia Sheinbaum says that additional incentives for films and series will be announced during a subsequent event. Salma Hayek, actor and producer, will participate in these announcements, as she has advocated for the necessity of these fiscal incentives.