AFM might have moved to Las Vegas, but some things remain exactly the same, including Italy’s commitment to be seen as an attractive spot for international productions.
“It’s a good opportunity to remind our colleagues that Italy has always been, and still is, a key player in our industry. Still, we want to improve even further,” says Marco Valerio Pugini, president of APE [Association of Executive Producers – Production Service Companies].
“We are a player that, sure, has a long history of culture, fashion and style, as well as nice weather, good food and beautiful locations. But we also have infrastructure, thanks to Cinecittà Studios, a great system of incentives and fantastic crews.”
On Nov. 7, the Focus on Italy showcase – organized by DGCA-MiC, Cinecittà, APE and ITA [Italian Trade Agency] will explain “Why Filming in Italy Is Now More Convenient Than Ever,” also thanks to the new tax credit dedicated to non-Italian productions.
According to the 2023 DGCA-MiC report, 402 films were produced in Italy last year, marking a 13% increase compared with 2022 and 27% increase compared with 2019. That’s not counting 248 audiovisual products, more than double compared with 2019.
Luca Guadagnino’s “Queer” with Daniel Craig shot in the country, as well as Edward Berger’s “Conclave” and Netflix’s “Ripley.”
“Queer”
Courtesy of A24
The 40% tax credit “definitively makes a difference,” argues Pugini, who will be joined during the showcase by APE’s vice president Cristina Giubbetti, CEO of Cinecittà Manuela Cacciamani, Francesca Rotondo (senior international sales manager at Cinecittà Studios) and Roberto Stabile, head of DGCA-MiC Special Projects at Cinecittà.
“It has allowed our entire infrastructure to grow and broaden its horizons. If this system remains in place, I’m sure we’ll see more of both international productions and Italian content.”
Potential collaborators need to know that tax credit “works great for every kind of project, from a large-scale feature film and series to a small documentary,” he notes. As long as they fit the criteria and are prepared to, among others, spend at least €250,000 in Italy and pass the cultural eligibility test.
“[During the showcase] we feel it’s necessary to explain, in simple terms, the system that has already worked efficiently in the past. As for the future, we are sure we can improve it – with little adjustments,” adds Cristina Giubbetti.
In a statement shared with Variety, the upcoming Focus on Italy wishes to “attract new investments in the country and give this happy moment a continuity.” During the event, the details of the reformed tax credit will be presented alongside Cinecittà’s showcase, serving to attest its “productive and technical resourcefulness, having once again become the studio where many great titles selected by major festivals are created.”
The role of APE, which has supported most of non-Italian productions shot in the country, generating revenue of €315 million euros – and a “notable impact on employment considering most of the crews on the projects were almost entirely Italian” – will also be spotlighted. Finally, ITA will be present with a delegation of 12 companies, including production and distribution companies, and a film commission.
“Struggles and excitement walk hand in hand together at this moment. For our industry, it means new stages. We are still missing those, but the good news is that Cinecittà is building them. They will be ready next year,” adds Pugini, pondering the future.
“If we want to use some product placement, we’ve built a Ferrari with our tax credit system. Now, we need a circuit for it to run.”
