direttore Paolo Di Maira


At a time when Europe is groaning under the blows of its member countries, we have chosen to stress our European identity in this issue which is published on the occasion projects and the collaborations that lie behind their production.
For this reason, in the following articles, we talk about the day-to-day efforts of the Italian pro- fessionals who seek out and realize co-productions or create the right conditions for the same through suitable rules and initiatives.

Italy’s European identity can be found in the film in competition at Berlin, “Fuocoammare”, and in the project selected at the Co-production Market, “L’ospite”; it can be seen in the Co- development Funds created by the MiBACT (Italian Ministry of Cultural Heritage and Activities and Tourism) and in the network of relationships and projects constructed by When East Meets West, the sixth edition of which has just come to an end in Trieste.

Italy’s European identity can also obviously be found in the film commissions which, by their very nature are oriented beyond national borders; they do not just provide locations but partici- pate increasingly actively (as is the case for the Alto Adige Film Commission) in the training of professionals and in the various stages of production.

Finally, if we have chosen not to discuss the phenomenon of Zalone in this issue (whose lat- est film “Quo vado” is the highest box office earner of all time in Italy), but rather to present the case of “Il capitale umano” by Paolo Virzì which, in 2014, reached only eighth place in the Italian box office chart, it is because Virzì’s movie has been distributed all over the world: in 36 countries, most of which are in Europe.
Analyzing the “Virzì” phenomenon could give us some indications about the future, at a time when Zalone’s success objectively exposes us to the risk of descending into autarkical temptations, deferring the problems of an Italian movie industry which is too provincial and closed in upon itself, as has been emphasized on many occasions by authoritative analysts and institutional exponents.
I should add, and this is my own personal opinion, that the Italian movie industry also needs to free itself from the Made in Italy myth, and work towards a more contemporary and fruitful Made with Italy.

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