Now that we are over our disappointment for the absence of Italian films in competition, (but Italy is already present in the official poster which shows Michel Piccoli going up the steps to Villa Malaparte in Capri, in the film “Le Mépris” by Jan Luc Godard), it is important to emphasize that, once again this year, most of the Italian movies at Cannes 2016 are traveling around the world with foreign companies: “Like crazy” (Bac Films, France) and “Sweet Dreams” (The Match Factory, Germany) from the Quinzaine des Réalisateurs [Directors’ Fortnight]. The Match Factory also handles the foreign sales of “Happy times will come soon” (Critics’ Week). The only exceptions are «Pericle» (Un Certain Regard) and “Fiore” (Quinzaine) sold by Rai Com.

We should point out that having an efficient international distribution network is decisive for establishing a film industry around the world, and there is no shortage of examples.
Let’s take French cinema again, whose worldwide circulation is second only to the United States.
It is interesting to note that 36% of the turnover is generated by films which are not French: our best cinema is included in this percentage, to be clear, movies by Sorrentino, Moretti and Gianfranco Rosi.
Cinema & Video International has taken a closer look at this topic, also investigating the international sales of the movies in competition at Cannes 2016. According to the article by Silvia Angrisani, it turns out that French exporters, by not just selling domestic movies but also products from other European countries, are distributing a total of 12 films around the world – 60% of the total movies in competition.
There are two conclusions to be drawn. On the one hand, the power of French exports is also good for the visibility of Italian cinema and, on other hand, there is a paradox: Italian cinema is contributing to strengthening the French film industry around the world.

This is another way of calling ourselves European, but the path could be less circuitous, and this time, let’s take the example of Italy, whose Film Commissions are pursuing the strategy of internationalization consistently, and in relative solitude.
We acknowledge them in the special section of this issue that opens with Film Commissions Day, the rendezvous with the Italian film commissions in Cannes on 16 May.

Nella sezione: Editoriale