In June of 2016 at the Buenos Aires Museum of Latin American Art (MALBA), Argentina's National Film Institute, the INCAA (Instituto Nacional de Cine y Artes Audiovisuales) presented its Anuario Estadístico de la Industria Cinematográfica y Audiovisual Argentina (Yearbook of Argentina's Film and Audiovisual Industry) including the key successes of 2015 (INCAA – Anuario de la Industria Cinematográfica y Audiovisual Argentina Año 2015). Figures from the yearbook suggest that Argentine cinema is thriving. Domestic production is increasing: with 182 national films released in 2015, more than the 172 films released in 2014, the 167 films released in 2013 (INCAA – Anuario de la Industria Cinematográfica y Audiovisual Argentina Año 2015: 25) and considerably more than the thirty-eight films produced in 1996 when production began to pick up again after the crisis of the early 1990s (Rocha 2011: 20). The yearbook records that audience figures have also increased to over 52 million spectators, that the market share for national films is 14.49 per cent and that this is the best audience share of all Latin America's three significant film industries (in the same year Mexico's is 6.1 per cent and Brazil's is 13/12.7 per cent) (INCAA – Anuario de la Industria Cinematográfica y Audiovisual Argentina Año 2015: 5, 14). Although, as the yearbook also indicates, these figures are mitigated somewhat by the fact that the Argentine market is smaller in comparison to the other big industries in Latin America in terms of both population (43 million), screens (912) and rate of cinema attendance per capita (1.21 tickets) (Table 9, INCAA – Anuario de la Industria Cinematográfica y Audiovisual Argentina Año 2015: 46). The yearbook also offers figures on how much state support national films received in 2015 including details on credits, and subsidies awarded for production, distribution and also launches. In 2015 fifty feature films were given credits and over 300 films given grants of some kind. In Argentina, most domestic productions receive some kind of funding from the state, including, controversially, high budget ‘industrial’ films like El clan (The Clan, Pablo Trapero, 2015) (INCAA – Anuario de la Industria Cinematografica y Audiovisual Argentina Ano 2015: 255; Falicov 2007b: 94) with additional funding coming from a variety of other different sources and not just from the state.