The VII edition of Rendez Vous-Festival of the New French Cinema- is currently underway, from April 5th throughout 9th, in Rome. On April 5th, at the Casa del Cinema, the customary professional gathering of AV experts took place, with a view to attending some panels on Italian-French co-production, which is a subject regulated by an agreement entered into force in 2013.
The convened AV experts intend to plot the agreement’s future perspectives and seek out strategies to further attract viewers- both in cinemas and theatres- but via legal streaming services.
The panel has been spearheaded by Christophe Musitelli, Cultural Advisor at the French embassy in Italy/ the Institut Français Italia Director and Jean-Paul Salomé, President of UniFrance.
They have both highlighted how important it is to preserve the link between the two countries:” France and Italy do share cultural codes” commented Jean-Paul Salomé, “Italy and its Cinema are of paramount importance for the French scene and there are many examples of co-productions between our countries, portraying stories of financial and artistic success, such as the recent La Pazza Gioia by Paolo Virzì”.
Salomé has also hoped that the new law on Italian tax credit, yet to be finalised, can provide a real contribution to the international coproduction. “The cinema industry has to export its movies to be innovative. It is important to talk about culture at a European level, especially given the historical period we are all experiencing. We need to wonder how we can better disseminate the European movies and culture.
Participants have tried to provide answers to this question at the panel “Perspectives of the bilateral convention, of the development fund and benefits envisaged by the new law” chaired by Nick Vivarelli from Variety.
Michel Plazanet (CNC), Maria Giuseppina Troccoli (MiBACT), Jean Labadie (Le Pacte), Antoine de Clermont-Tonnerre (MACT) and Angelo Barbagallo (BiBi Film) have all taken part at the panel.
“The 1946 international co-production agreement between Italy and France” recalled Maria Giuseppina Troccoli, “has been the first in the world and has paved the way for all the others”.
She also outlined that due to a higher number of Italian productions compared to the French, the agreement entered in 2013 started fading out.
In this regard, both Plazenet and Clermont-Tonnere recalled that, even though up until now the Italian movie industry has requested much support from France, things may change in the future : in fact, “in a few weeks’ time, there will be very important political elections in France” commented Plazenet, hence “the future is rather uncertain. It is likey that we will be needing more support from you in future”. “French-Italian collaboration” continued Clermont-Tonnerre, “is not merely financial but rather artistic: young authors and new quality movies are to be given top priority.
Compared to other countries, the relationship we have with Italy is very much focused on creativity, among other things, and we do hope that your new law will foster it further as it’s true that it has faded out over the last few years”.
