Without Borders

What are the priority strategies implemented to promote Italian cinema abroad, and how has this work evolved over the years, especially thanks to the rise of certain Italian filmmakers?
In our process of internationalizing the Italian audiovisual industry, we follow three main lines of action. The first is supporting the distribution of finished films in foreign markets, aiming to increase the international sale of Italian films. To facilitate this, we have established a financial measure, the Film Distribution Fund, which provides foreign distributors who purchase Italian films with a grant of up to €50,000 to cover P&A (Prints & Advertising) expenses for theatrical releases worldwide. This initiative has proven extremely effective. The second line of action is encouraging co-productions, strengthening the presence of our producers at events and occasions where they can meet foreign partners. We often accompany them with creatives, fostering cooperation that can generate new, fruitful ideas. The third line involves promoting Italy itself as an ideal filming location. In these cases, we either travel abroad to organize presentations or invite foreign professionals to Italy to showcase our country’s beauty and highlight state incentives, starting with the tax credit for international producers. We also present the services offered by our Film Commissions, many of which have regional funds for cinema that can be combined with state incentives. Another important initiative is Italian Screen, a project developed a few years ago in collaboration with the Ministry of Culture and the Ministry of Foreign Affairs. Through Cinecittà, it promotes contemporary Italian cinema worldwide, using the diplomatic-consular network and cultural institutes. For each territory, we select films that are rights-free or unsold, submit them to a local evaluation committee, and organize screenings – mostly in commercial theaters with paying audiences. Ticketed events allow us to gauge local interest, providing real-time audience feedback to distributors, who are then presented with incentives to purchase the films or shoot in Italy. This simultaneously promotes Italian cinema culturally and commercially, optimizing existing local institutions – embassies, consulates, cultural institutes – rather than creating a centralized structure like Unifrance in France.

The American film industry has long dominated the international market. However, Europe also has a strong audiovisual sector with untapped potential. What are its strengths and weaknesses?
The audiovisual industry is constantly evolving due to new technologies and geopolitical shifts. Europe plays a fundamental role in cinema, with France and Italy as leading players. Together, we invented the concept of co-production; the first agreement regulated collaborative films between Italy and France. European cinema, in my view, is primarily characterized by the leadership of Italy and France. The U.S. taught us marketing and promotion, often investing more in marketing than production. While tensions between America and Europe have grown, cinema transcends these barriers. New filmmaking hubs have emerged globally, so we cannot focus solely on the Western market. Southeast Asia, for instance, represents a huge opportunity if its small markets are considered collectively, alongside China, where there is growing demand for European cinema. Italian films, long admired by students and filmmakers worldwide, remain highly popular in China. We have begun targeted initiatives there, working with local distributors to select Italian films for Italian Screen campaigns. India is another key player: while co-productions are challenging due to its distinct cinematic style, attracting Indian productions to film in Italy remains a viable strategy, offering economic and promotional benefits and potential future collaborations.

Do festivals, particularly Venice, continue to play a crucial role in promoting Italian cinema internationally?
Absolutely. Festivals are vital for the film industry, especially major international ones like Venice, Cannes, and Berlin. Films often achieve better foreign distribution after festival screenings, even without winning awards. Being selected or screened in a festival significantly increases a film’s appeal. The red carpet, meanwhile, is crucial for initial media exposure and promotional impact. Festivals are also essential for industry networking, strategy discussions, and market activities. Venice, while not a traditional market, acts as a springboard for sales, often influencing negotiations at Toronto shortly after.

What is the role of the Italian Pavilion in this context?
It is the home and showcase of Italian cinema. For years we have organized it at the most important festivals and markets. Naturally, at Venice – our home, the world’s first film festival and, alongside Cannes, the most important – we aim to give our very best. For the past two years, we have set up a dual space that hosts institutional meetings, festival presentations, Film Commission panels, and much more. We also offer foreign film industries, with whom we collaborate throughout the year, the opportunity to present their projects and activities, helping to foster connections among professionals in this complex industry. It is a modular space, essentially a platform where everyone can find a home and a warm welcome.

Can you clarify how tax credit mechanisms benefit national and international productions?
It’s important to distinguish between the tax credit for domestic productions and the one designed to attract foreign productions. The former supports Italian producers in making films, directly tied to the audiovisual work. The latter aims to attract foreign productions to Italy, bringing investment and ensuring that international producers spend locally while shooting audiovisual content.

How does your promotional activity interact with platforms, now key players in the film industry?
Platforms are now essential partners. Previously, films recouped costs through theatrical screenings alone. Platforms now act like a “second release window,” significantly extending a film’s commercial life. We supported platform releases with financial assistance during COVID, and while this support has ended, we recognize platforms’ critical role in ensuring wide distribution and boosting films’ commercial potential.