In today's world, Libreflix has gained unprecedented relevance. Whether in the field of technology, medicine, politics or culture, Libreflix has become a central topic of debate and reflection. With the advancement of globalization and social media, Libreflix has become more accessible and relevant to an increasing number of people around the world. In this article, we will explore different facets of Libreflix and its impact on today's society. From its origins to its influence on daily life, including its importance in the current context, Libreflix is revealed as a crucial point in the contemporary panorama. Throughout the next few lines, we will analyze various aspects of Libreflix and its role in today's world, seeking to understand its scope and meaning in different spheres of modern life.
Type of site | Film distributor Free software |
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Available in | Portuguese |
Created by | Guilmour Rossi |
URL | libreflix |
Registration | Optional |
Launched | 11 August 2017 |
Current status | Online |
Written in | Node.js |
Libreflix is a free online Brazilian service that offers access to audiovisual productions with permissive distribution licenses through streaming. The platform is open and its development is done collaboratively and it is open source, following the philosophy of free software.
The service went live on 11 August 2017 and can be accessed through the official website or applications for Windows and Android systems.
Although the service does not require registration to be accessed, in April 2018 the platform had 14 thousand registered users. Registration is mandatory for sending movie suggestions.
The Libreflix, initially designed and developed by Brazilian hacktivist Guilmour Rossi, is written in Node.js and licensed under the GNU Affero General Public License. The development is done using git versioning through a public repository.
In July 2018 the service was presented at the 18th Fórum Internacional Software Livre.
The service catalogue includes feature films, short films and series, whether fictional or not. In a presentation in July 2018, the service listed more than 250 works registered in the collection, where 75% of the catalog was of non-fictional works. By location, 62% of the content was produced in Brazil, 8% in the rest of Latin America. American and European works represented 17% and 8% of the catalogue respectively. As for the duration of the content, 40% was composed of feature films.