DE ROME À PARIS - RENCONTRES DU CINÉMA ITALIEN
13e ÉDITION / 17-20 JUIN 2021 / CINÉMA L’ARLEQUIN

Le festival DE ROME À PARIS est un des rendez-vous incontournables du cinéma italien. Chaque année plus nombreux, les spectateurs viennent y découvrir une sélection d’une dizaine de longs- métrages italiens récents (fiction, documentaire, animation) encore inédits en France. Ces films sont présentés en présence des équipes des films, réalisateurs et comédiens venus échanger avec le public.
Cette année encore, le festival est accueilli au Cinéma L’Arlequin, dans le 6ème arrondissement.
DE ROME À PARIS est soutenu par le Ministère de la Culture italien et organisé par ANICA (Association Nationale des Industries Cinématographiques Audiovisuelles et Multimédia) en coopération avec ICE-AGENZIA (Institut du commerce italien), L’AMBASSADE D’ITALIE, ISTITUTO LUCE CINECITTÀ.

COMITÉ DE SELECTION
Les films ont été sélectionnés par un comité composé de professionnels du cinéma en France :
VIVIANA ANDRIANI, Italienne basée à Paris depuis 1995, a créé́ sa société́ RENDEZ-VOUS de relations presse cinéma pour les sorties nationales en France et pour le lancement de films dans les principaux festivals (Cannes, Berlin, Venise). Pour la presse internationale, elle a accompagné́ de nombreux films de cinéastes français, dont Robin Campillo, Laurent Cantet, Philippe Garrel, Céline Sciamma, Raoul Peck, Xavier Giannoli, Pascale Ferran, Bertrand Bonello, Mathieu Amalric, Valeria Bruni Tedeschi, mais aussi de grands cinéastes étrangers, dont Laszlo Nemes, Jafar Panahi, Kléber Mendonça. Pour la presse française, elle a travaillé́ aussi avec de grands auteurs étrangers, notamment Frederick Wiseman, Naomi Kawase, Wang Bing, Roy Andersson. Elle a notamment contribué à faire connaitre certains cinéastes italiens émergents dont Gianfranco Rosi, Michelangelo Frammartino, Fabio Grassadonia & Antonio Piazza,Roberto Minervini, Pietro Marcello, Vincenzo Marra, Emma Dante, Edoardo Winspeare, et retrouvé les grands noms du cinéma italiens, tels Marco Bellocchio, Bernardo Bertolucci, Marco Tullio Giordana. De 2005 à 2015, Viviana Andriani a été consultante pour la sélection des premiers long- métrages français à la Semaine de la Critique de la Mostra de Venise.
THIERRY DE COURCELLES a débuté sa carrière dans le cinéma entant que responsable développement et acquisitions de la société́ de distribution Océan Films. Il a contribué au succès de bon nombre de films tels: In the Mood for Love, 2046 (Wong Kar Way); Millennium Mambo (Hou Hsiao Hsien), The Eternity and one day (Theo Angelopoulos) qui a remporté́ la Palme D’Or, Good bye Lenin (Wolfgang Becker), La Meglio Gioventù (Marco Tullio Giodana), Buongiorno Notte (Marco Bellocchio), The Return (Andrey Zvyagintsev), The Life of Others (Florian Henckel von Donnersmarck), No man’s land (Danis Tanovic). Ayant rejoint l’équipe de TF1 il a également su découvrir des films brillants au stade de développement avec le pré́-achat de projets comme Dallas Bruyeres Club de Jean-Marc Vallée et Carol de Tod Haynes. Depuis deux ans il est directeur des acquisitions chez UGC où il travaille sur des projets très prometteurs tels que le prochain film de Terence Malick.
ILARIA GOMARASCA, après un master en Littérature à l’Università Cattolica de Milan, a entamé six mois de recherche sur les nouveaux médias au Département d’Art Graphique du Musée du Louvre. En 2009 elle débute son activité dans le secteur du cinéma à Paris pour la société de ventes internationales Wide et devient responsable du département Festivals. En 2013 elle rejoint la société Pyramide International en tant que responsable Festivals et Marches. Elle gère les relations avec les artistes et la promotion du catalogue auprès des directeurs de festivals, des cinémathèques et des institutions à l’estranger. En 2019 elle rejoint l’équipe du First Cut Lab, comme responsable du nouveau programme First Cut+, qui promeut un portfolio de 16 films de fiction en post-production.
PAMELA PIANEZZA est journaliste, écrivaine, photographe et programmatrice de festival. En tant que journaliste elle travaille avec Variety, Dazed &Confused, Cine+, Canal +, Arte et est éditrice du magazine culturel quotidien Tess. Elle présente également les Golden Globes pour Canal Plus. Elle a longtemps travaillé en tant que programmatrice pour la Semaine de la Critique du Festival de Cannes, entant particulièrement spécialisée sur le cinéma italien et est responsable de la section courts-métrage du Festival International de Fribourg. Elle enseigne critique du cinéma et les arts visuels.
NADIA TURINCEV est née en 1970 à Moscou (URSS) et a grandi à Paris. A 12 ans elle tombe folle amoureuse d’Andrei Konchalovsky et commence à voir plein de films. A 16 ans, elle débute comme stagiaire sur les Yeux Noirs de Nikita Mikhalkov, préparant des sandwiches pour Marcello Mastroianni. Elle travaille ensuite comme interprète de plateau. Puis pour ACE- Ateliers du Cinéma Européen, Europa Cinémas, le Club des Producteurs Européens, le programme Media. Elle a également été́ au Comité́ de sélection de la Quinzaine des Réalisateurs et au Festival de Moscou comme directeur artistique. En juillet 2007, elle fonde avec Julie Gayet, la maison de production Rouge International. « L’universel commence quand on pousse les murs de sa cuisine » – telle est leur devise. Elles travaillent beaucoup mais ne s’amusent pas moins.

Programme
Jeudi 17
20:00
Pour Toujours (Sale 1)
Vendredi 18
16:00
L’Agnello (Sale 3)
18:00
Hammamet (Sale 3)
20:30
Non Odiare (Sale 1)
Samedi 19
13:45
Maledetta Primavera (Sale 3)
15:45
Cosa Sarà (Sale 3)
17:45
I Predatori (Sale 1)
20:15
Padrenostro (Sale 1)
Dimanche 20
14:00
Cosa Sarà (Sale 3)
16:00
Punta Sacra (Sale 3)
18:00
Sul più bello (Sale 3)
20:30
Lacci (Sale 1)





ISTITUZIONI / LEGISLAZIONE Europa
Gli esperti suggeriscono come attuare un'equa remunerazione per sceneggiatori e registi
di DAVIDE ABBATESCIANNI

07/06/2021 - Il seminario organizzato dalla SAA ha offerto competenze approfondite sul modo migliore per attuare la direttiva sul diritto d'autore nel mercato unico digitale
On Wednesday 2 June, the Society of Audiovisual Authors (SAA) hosted a seminar entitled “Experts' top advice on fair remuneration for screenwriters and directors: Implementing Article 18 of the EU Copyright Directive”. The event came a few days before the deadline (set on 7 June) for transposing the Directive on Copyright in the Digital Single Market (known as Article 18) into national law, but few EU countries will be able to meet it.
The aim of the seminar was to discuss the advantages of the right to fair remuneration and to address member states’ questions over its implications for contractual freedom, the transfer of exploitation rights to producers, payments by users, collective rights management, and its impact on the industry itself. The discussion was moderated by Barbara Hayes, Chair of the SAA and Deputy Chief Executive of the Authors’ Licensing & Collecting Society (UK), and involved four speakers: Vice-Chair of the Legal Affairs Committee of the European Parliament Ibán García del Blanco (S&D, Spain), copyright law specialist and Universitat Oberta de Catalunya Intellectual Property Chair Professor Raquel Xalabarder, Paris' Sciences Po Law Professor Séverine Dusollier and Dominik Skoczek, Managing Director at Poland's ZAPA.

The floor was first opened to García del Blanco, who hoped for an increased level of copyright understanding on the part of the public and who pledged his support to guaranteeing cultural diversity and to exploiting the current crisis, viewing it as an opportunity to bring about change for the better. His speech was followed by a recorded video message from veteran German screenwriter Fred Breinersdorfer, who explained that the average salary of his colleagues stands at around €50,000-€60,000 per year, mostly earned through the writing of TV productions. He stressed that whilst this figure might not sound too bad, it still falls below the remuneration of other qualified professionals such as doctors or lawyers and, usually, writers would need to work on one or two scripts per year in order to be paid fairly. In most cases, however, they are only able to work on one project every two years, which severely impacts their ability to make ends meet. He conceded that streamers had probably brought about more opportunities, but he insisted that they “don't pay very well” or guarantee steady incomes, not to mention the low “success rate” of writers' work (i.e., developed scripted projects brought to completion), which stands at 10-15% for Breinersdorfer, but which is even lower for most of his colleagues.
Dusollier provided various contextual insights and touched upon the role of CMOs and the whole contractualisation flow, involving the authors and the producers initially, and later co-producers, international sales agents, intermediaries, distributors and digital platforms. Xalabarder welcomed the implementation of Article 18, though she claimed that simply “copy-pasting it” wouldn’t be sufficient. She explained that the directive follows the principle of appropriate and proportionate remuneration (not as a binding principle, but as an obligation) and it applies to any license or transfer of exploitation rights, as well as on both new and old productions. In particular, Recital 73 grants member states the freedom to use “existing or newly introduced mechanisms, which could include collective bargaining”, provided that these are in conformity with the EU law.
Skoczek's talk focused on the Polish market, chosen as a case study for Central Eastern Europe. The Polish film industry often sees screenwriters signing inconvenient buy-out contracts, which sell exclusive rights to the producers for a one-off fee. Another issue affecting the market relates to end distributors who have been obliged to pay statutory royalties. However, only a minority of these entities are willing to conclude contracts and clear their status, and some take advantage of every possible means to avoid paying royalties, such as entering into lengthy court proceedings and negotiations. The lack of binding tariffs and proper enforcement of these rules contributes to this critical situation. With regard to a possible solution, Skoczek highlighted that “the unwaivable right to remuneration would be the best way to ensure a fair share of revenue for authors.” In this sense, the implementation of Article 18 represents a great opportunity to fill the current legislative gap.
An open discussion moderated by Hayes and a short video made by European authors and performers rounded off the seminar.


ISTITUZIONI / LEGISLAZIONE Europa
MEDIA si spinge oltre i confini con il suo nuovo programma Europa Creativa
di BIRGIT HEIDSIEK
25/05/2021 - Il programma recentemente revisionato prevede un budget quasi raddoppiato e una migliore accessibilità, ma impone anche nuovi obblighi

The new Creative Europe programme is getting a major budget boost after the European Parliament agreed to significantly increase resources for the programme. From 2021-2027, the Creative Europe programme will have a total budget of €2.5 billion, which is an increase of almost €1 billion. A total of €1.4 million is dedicated exclusively to the MEDIA programme.
With this sizeable increase in the budget also comes a huge responsibility. “We need to address the dramatic impact that COVID-19 has had on our industries. The cultural and creative sectors were amongst the industries that were hit the hardest by the crisis,” said Lucía Recalde, Head of Unit, Audiovisual Industry and Media Support Programmes. At an online event hosted by the MEDIA Desks of Germany, Luxembourg and Austria, she gave an initial insight into the new structure of the MEDIA programme. “The main challenge for us will be to use this significant increase to address the recovery and the transformation of the industry,” underlined Recalde. The European Commission set two priorities: the digital transformation and the climate transformation. “We need to strike a balance between recovery and transformation in the next six-and-a-half years.”
(L'articolo continua qui sotto - Inf. pubblicitaria)
The European Commission has set the objective for 30% of the funding to be spent on climate-related actions. “That is an obligation”, stressed Recalde. “We would like to incentivise changes before we choose mandatory obligations. We want to couple incentives with a lot of good practices and awareness-raising activities so that those who are starting can learn from those who are more advanced.”
Other essential parameters of the programme will also be to widen the ecosystem, to provide greater accessibility and to support cooperation. “Diversity is a message. We want to make the programme more open to groups that haven’t participated in it,” the head of Creative Media outlined. “The challenge is to put all of the different objectives in the best possible format. The contribution to gender equality, inclusiveness and the Green Deal has to be implemented – that is an opportunity.”
The first calls will be launched at the beginning of June. “We promote linguistic variety. The calls will be available in all of the languages,” said Barbara Gessler, Head of Unit, Creative Europe. “The scope of where organisations see their project fitting in will become larger.” In order to foster cooperation, one particular priority will be co-creation. Social innovation will also be an important topic. After all, “Innovation is not only a technological term,” as Kessler emphasised.
MEDIA will be built on the assets that have worked well so far and which should be improved further. The programme will be structured into clusters such as content, audience and business, as well as transformation. One main novelty in the content clusters is the requirement for co-development as a kind of added value to foster collaboration even more intensely. There will also be some development activity tailor-made with certain groups of countries in order to broaden the participation of nations that previously had more difficulty accessing MEDIA funding. Furthermore, video-game actions will be broadened towards immersive content.
The 360-degree business cluster will be implemented in 2022. “That is a simplification action,” said Recalde. “We are primarily thinking about beneficiaries that were really successful. Now, we would like to channel this support into one single grant.” Another new action is called Tools, which should take advantage of the benefits of digital technologies for the audiovisual industry. On the audience side, there will also be a stronger focus on collaboration involving VoD platforms and the festival network. Last but not least, the cross-sectorial strand will provide support for the news media sector. The aim is to support media literacy and journalist partnerships. “We also want to bring together audiovisual communities and other creative sectors,” concluded Recalde.