It preserved a large part of the nation's cinematographic content and houses the greatest collection of Brazilian cinema, with more than 250,000 rolls of film.

Directed by Almeida Salles, Múcio Porphyrio Ferreira, Rubem Biáfora, Benedito Junqueira Duarte, João de Araujo Nabuco, Lourival Gomes and Tito Batini, the association brought back Emílio's idea and created the Cinemateca Brasileira.

Emílio's experience as a researcher at the Cinémathèque Française and with Henri Langlois - the director of the institution - were partially responsible for his commitment to the creation of the Cinemateca.

The aim was to strengthen the Cinemateca Brasileira with large exhibitions held in conjunction with other cultural institutions in São Paulo, and to generate spectators with critical capacity.

The disbandment of the MAM in search of greater autonomy came in 1956, when the Club became a non-profit civil society of the same name as their archive with the intention of preserving the national and universal cinematographic heritage.

It was built in 1887 to revive the former slaughterhouse in the lowland of Humaitá, which had existed since 1856 and was listed by CONDEPHAAT (the Council for the Defense of the Historical, Artistic, Archaeological and Touristic Heritage of the State of São Paulo).

The Cinemateca makes use of the remaining buildings from the "historic core" of the former slaughterhouse, which have been restored and adapted to its current needs as a documentation center, support areas, restrooms, movie theaters and locations for the hosting of events.

The public authorities often refused to finance this parallel distribution and preservation center, giving preference to the commercial film circuit.

Emílio also made the principle behind his concept very clear, as part of a comprehensive project aimed at public education and cultural policies in the country.