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FEATURE FILMS, FILM COMMISIONS AND FESTIVALS
07/09/2010
The first discussions at the Filmmakers Villa included two organized two by 100Autori: on making first and second films (organized with the Young Producers Association, and the role of film commissions.
The former, moderated by Giacomo Durzi, examined the problems facing young directors attempting to make their first time. Discussion participants included 100Autori President Stefano Rulli and Director General for Cinema of the Ministry of Culture Nicola Borrelli. The latter spoke of the Ministry’s commitment to supporting debut and second films with new laws, adding that the State has no intention of excluding any films, even niche projects with less visibility.
Durzi – who co-wrote with director Matteo Berdini Commedia all'italiana-Esordire in Europa, the documentary that screened at the Villa in the Spazio Aperto section – also made comparisons with the situations in France, Germany, Spain and Romania, where the industries are better structured and more functional; where solutions have been found to obstacles that in Italy still seem insurmountable. He said: “In Italy, young directors can’t work if they haven’t come from the National Film School, don’t live in Rome and aren’t connected. In other countries, you can work alone and receive much more information and services.”
The Italian filmmakers in attendance agreed, including Paola Randi (on the Lido with her feature debut Into Paradiso) and documentary filmmaker Andrea Segre, who after the Venice Days title Green Blood will start his first fiction project. “In my case,” he said, “I was able to take advantage of many initiatives available through film festivals, such as the New Cinema Network (Rome International Film Festival) and the Cannes Atelier. These are important initiatives because they focus on the work, and help you understand if it’s heading in the right direction.”
In a sense, the same uncertainties dominated the second discussion as well, on film commissions, which had been addressed in previous Venice Days editions. Yet whereas the tone was more positive in the past, cries of alarms are now coming from the presidents of various regional commissions, of which there were many in attendance. Including Piedmont, Apulia, Tuscany, Friuli Venezia Giulia and Campania.
The discussions oscillated between those who support film commissions as producers and service providers and those who would like to see them only cover the latter role; those who think they should promote the territory and those who feel commissions should only promote the films. Another fundamental point of debate was training and education and subsequent job creation, which when offered through film commissions decentralizes Rome and promotes local talent.
However, all the speakers criticized the kind of cuts that are leading production companies abroad, for example Belgrade, to make low-budget films. Last but not least, another sore point was the regional budget cuts, which are detracting from investments as well. This, along with the federal cuts to culture, could provoke serious damage in just a few short years, if not months.
The third discussion was organized by AFIC (Association of Italian Film Festivals) and Libera Università di Lingue e Comunicazione in Milan (IULM). Speakers Giovanni Spagnoletti, Giorgio Gosetti, and Dean of Facoltà Gianni Canova and professor Mario Abis talked about the fate of festivals. IULM also announced the start of a research study that over the next year will analyze the structure of Italian film festivals (of which there are approximately 130) through economic indicators. The in-depth study is intended to offer information on festivals’ impact on their territories, audiences and the media produced around the events.
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