Reclaiming the excitement of movie theaters on the big screen is not a romantic mantra. In reality it never was, but it is clear that for those who live far from the world of cinema that is meant to be a professional and productive sector, this phrase can only generate vintage flavours. The subject, on the other hand, is closer to Dramatic Thriller From comedy because the future of the existence of cinemas is increasingly in jeopardy. Indeed, if it is easy to subscribe to the “centralization of the room” from the political and cultural professorship, the reaction of the stern and anxious professionals can only be in this way: “(Of course) the room is centralized But the cinemas are emptyThe exceptional nature of the state of emergency is like uniting the main television competitors in the isolated chorus of Italian cinema distribution: on the one hand, rai with Al Rai cinema And on other Mediaset with Jellyfish.
Together they drafted and published Corriere della Sera An “open letter” for peremptory requests arising the day after the mandatory maintenance of the mask in rooms until at least 15/6a condition to protect against infection which, as is known, will not affect all enclosed spaces but only some starting tomorrow, May 1st.
Therefore, cinemas are constantly punishing and massively unloaded in a hemorrhage that, on a continental basis, seems to relate specifically to the Italian territory, although Covid-19 has affected the whole of Europe. The merciless numbers: Italy is the only country among the large European countries that shows a negative signal (-7%) of receipts from 2021 compared to 2020 (France + 47.5%, Great Britain + 75%, Germany + 20%, Spain +45%) and a comparison of the “full open” period (from April 2021) with the same period of the 2017-2019 three-year period is a 50-60% decrease. In absolute terms, the total sales loss (box office + franchises) in 2021 compared to 2019 was approximately 700 million euros, and for 2022, the decline is estimated at nearly 60%, equivalent to 600 million euros. In this context, Italian cinema is the most affected and therefore of great concern.
“These are the values that call into question the survival of the entire systemDenouncing Rai and Mediaset. “It is time, then, to question ourselves about possible future scenarios and try to formulate urgent and indispensable proposals for the Italian film industry.” While acknowledging that the government and the Ministry of Culture have “always been close to the sector, ensuring in these two years the tools and resources to tackle the emergency first and then support the recovery”, competitors who are now partners believe “more effort is necessary”. There are therefore four proposals “to avoid a serious deviation in the Italian cinema system. These are structural interventions for the sector that do not, however, require specific time and resources for their implementation”. Here they are listed:
Chronology. What Minister Franceschini recently announced regarding a 90-day window for all films is commendable and responds to the need for Regulation After a while it is unclear regarding the chronology of the movie releases. However, we fear that the response of the centralization it deserves to the hall will not suffice: we understand that the 15 months approved in France, despite its effectiveness (I think only 96 million tickets were sold in 2021 across the Alps compared to 25 million in Italy) It’s hard to come by but we believe 180 days out of the window to protect theatrical release is reasonable and necessary at least for the next three years. In particular, with respect to chronology, the interventions we propose are of interest:
The same exploit windows for all films (Italian and foreign).
180-day window of room exit protection compared to other exploitsat least for the next three years (eventually going back to 105 days before the pandemic).
Distribution tax credit. Distribution tax credit is an intervention in favor of the producer, not the distributor; It does not bring the audience to the cinemas but allows the films to reach the theaters with a good communication campaign, which is a prerequisite for attracting viewers, and reducing any economic losses in the period of crisis. This measure makes it possible to increase the investment in the advertising campaign of the film, while giving greater visibility to the product. So we think it is appropriate to extend the rate of this tool to 60% for three years.
Production tax credit. We believe it is appropriate to make a distinction in advance between films that are planned for a theatrical release and films that target other usage patterns. Film the cinema brings with it higher economic potential, which is attributed to the release and subsequent longer production series in which every element, including the star system, is improved. For these reasons, the interventions we propose through the Tax Credit Remodeling are as follows:
Tax exemption on the production of priority works in cinema exploitation at the rate of 40%;
A tax deduction for production of cinematographic works targeting modes of use other than theatre, including those using event outputs, is 30%.
Organizing the use of the event exit for 3 days and the so-called “technical exits”It is necessary to intervene with clear rules regarding event use which is designed to improve the production of special audiovisual productions (concerts, historical, cultural and artistic events), and unfortunately has been used in recent months as a real trick to get around windows and access other feats faster.
The letter, signed by Paolo Del Brocco, CEO of Rai Cinema and Giampaolo Letta, CEO of Medusa Film, concludes with hope “Still time to intervene And really allowing it to play the central role it deserves within the sector.”