It has been a major bugbear for Italian sales agencies for years — the fact the country’s top directors and producers regularly sign with non-Italian sales companies to rep their films internationally.
Typically, the biggest Italian films have been picked up by French or German companies for international sales. France’s Kinology, for example, handled sales for Nanni Moretti’s most recent title A Brighter Tomorrow while Germany’s The Match Factory repped Marco Bellocchio’s Kidnapped. Meanwhile, Piero Messina’s Berlin Competition title Another End is being sold by France’s Newen Connect. Two of the most anticipated Italian films of the year — Paolo Sorrentino’s upcoming Parthenope and Luca Guadagnino’s Queer — are both backed by European media group Fremantle and are being repped by non-Italian sales companies.
There are several reasons why Italian sales agents struggle to compete with French companies in particular. The film industry is heavily supported in France, and this is also true for its sales companies — many think the latter can afford to put down more competitive minimum guarantees (MGs) as a result. A CNC-backed support scheme, for example, helps French sales companies fund MGs and costs related to marketing a film internationally.
One leading Italian sales agent, who preferred to speak anonymously, insisted they are just as effective as their French counterparts. “In some cases, if a film is represented by a French sales company, there could be more chances for a theatrical French release,” they claim. “But if a film is internationally appealing, an Italian sales agent will commercialise it just as well.”
It is not as if Italy is lacking in sales agents. The market has become much more competitive in recent years and is home to a diverse range of firms including True Colours, Intramovies, Vision Distribution, Minerva Pictures, Fandango, Illmatic, TVCO and The Open Reel.
Italy does offer two funds that can help Italian sellers with international distribution. The country’s Film Distribution Fund was doubled last year to €2.1m ($2.3m) and offers local distributors who buy Italian movies up to €50,000 ($54,000) per film per country for theatrical distribution and €15,000 ($16,200) for internet distribution.
Meanwhile, the sales fund Fondo Esportatori Internazionali supports Italian sales companies to participate in international markets. Support ranges from a €10,000 ($10,800) contribution for one film up to a maximum of €30,000 ($32,400) for four.
These are both welcomed by Italian sales agents, although many say they are slow to deliver the promised support. “Everything is a help, but the process is quite complicated and it takes a long time,” says another sales agent. “Both of the funds have become extremely slow at getting operational.”
Uphill battle
Italian sales agents have also turned to the country’s automatic subsidies, which provide funding based on the performance of films and are designed to encourage companies to continue investing in Italian films, to help pay MGs. But currently it is proving a challenge for Italian sales companies to access the funding.
This comes as the Italian government, which provided significant support for the local film industry during the pandemic, is reviewing the funding it provides for filmmaking. This includes a rethink of its 40% tax credit, but the review is taking time.
Meanwhile, developments at state broadcaster Rai could lead to the emergence of a major Italian sales agency that would compete with international rivals for the biggest local titles. This month, it announced the launch of a focused international film sales arm, Rai Cinema International Distribution, which makes its market debut here at EFM.
Rai Cinema International Distribution will handle international sales of new films, which will then continue to be managed by existing TV and film sales operation Rai Com for library exploitation. Some rival sales companies are concerned that, as a major backer of Italian films, Rai Cinema International Distribution will be in a strong position to handle sales for top Italian films. Rai Cinema has an annual budget of $85m and invests in a large slate of 50-70 films a year.
These fears are played down by Roberto Stabile, head of special projects, Directorate General for Cinema and Audiovisual-Ministry of Culture at Cinecitta. “I understand that smaller companies are worried because Rai Cinema is selling, but I’m sure it will not be a danger to them. It will be a very important support and it will increase the potential of Italian companies who want to sell movies abroad.”
Rai Cinema International Distribution is representing Berlin Competition title Gloria!, the directorial debut of Italian actress and singer Margherita Vicario. Come future festivals, might the operation be seen to rep more big Italian titles at the expense of French and German sellers?
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