Gennaro Sangiuliano‘s exit from the Ministry of Culture leaves behind a trail of controversy and suspicion. In his resignation letter after the case involving Maria Rosaria Boccia, the former minister mentioned external pressure and strong conflicts with the world of cinema, due to the reforms initiated during his mandate. Among the most controversial issues is the revision of the system of public funding for the film sector, a measure that, according to many, would have put at risk a consolidated mechanism that guaranteed funds to various productions, often without adequate quality control. The central point of discontent, reports Il Giornale, lies in the reform of the tax credit and selective contributions to cinema, a system that until 2022 had distributed almost 850 million euros. The funding, granted without stringent parameters on the quality of the films, had allowed many Italian productions to obtain significant resources without however achieving box office success. Some emblematic cases of this inefficiency have been reported by journalistic investigations, which have highlighted the gap between the funds received and the modest takings of some films.
Sangiuliano, during his mandate, had proposed a real revolution: the introduction of a salary cap for directors who benefit from state contributions, setting it at 240 thousand euros, in line with the compensation of public managers. This proposal triggered a negative reaction from many directors, especially those closest to the left. It is no coincidence that, right from the Venice Film Festival, director Nanni Moretti expressed concern about the new law on cinema, judging it negatively and inviting his colleagues to react.
Among the innovations introduced by the former minister, there is also the obligation for production companies to cover at least 50% of the costs of films with private investments, thus reducing dependence on public funds. Furthermore, it is expected that those who access state funding must have distribution agreements already signed, to guarantee the quality of the product and its visibility in movie theaters. But cinema is not the only critical front. Sangiuliano has also displeased the bureaucrats of the Ministry of Culture, many of whom had been placed in marginal roles after the reform that redesigned the management structure, replacing the old general directors with new heads of department. This internal reorganization has further fueled tensions. Finally, the contracts linked to the G7 of Culture, with their considerable funding, would be another area of potential conflicts of interest. All material for possible investigations into the affair.
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2024-09-09 23:12:56
What led to the resignation of Gennaro Sangiuliano as Italy‘s Minister of Culture?
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The Controversial Exit of Gennaro Sangiuliano from the Ministry of Culture
Gennaro Sangiuliano, the former Italian Minister of Culture, has resigned amidst a storm of controversy and suspicion. The 62-year-old minister was embroiled in a scandal involving an influencer, Maria Rosaria Boccia, with whom he was filmed in his office by the influencer herself [[1]]. This incident led to his resignation, which was met with a mix of reactions from the public and the film industry.
During his mandate, Sangiuliano had proposed several reforms to the film industry, which were met with resistance from many directors and producers. One of the most controversial issues was the revision of the system of public funding for the film sector, which was deemed to put at risk a consolidated mechanism that guaranteed funds to various productions without adequate quality control [[2]]. The funding, granted without stringent parameters on the quality of the films, had allowed many Italian productions to obtain significant resources without achieving box office success.
Another innovation introduced by Sangiuliano was the obligation for production companies to cover at least 50% of the costs of films with private investments, thus reducing dependence on public funds. Furthermore, it was expected that those who access state funding must have distribution agreements already signed, to guarantee the quality of the product and
Italy’s Controversial Ministry of Culture: Gennaro Sangiuliano’s Exit and the Future of Cinema Funding
Italy’s Ministry of Culture has been at the center of controversy following the resignation of Gennaro Sangiuliano, the former minister who stepped down amidst a media storm over his move to hire his lover as a ministry advisor [[2]]. Sangiuliano’s two-year tenure at the Ministry of Culture (MiC) was marked by his efforts to reform the country’s cinema sector, which sparked strong conflicts with the film industry [[3]].
One of the most contentious issues during Sangiuliano’s mandate was the revision of the system of public funding for the film sector. The former minister proposed a new law that would introduce a salary cap for directors who benefit from state contributions, setting it at 240 thousand euros, in line with the compensation of public managers. This move was met with strong opposition from many directors, especially those closest to the left, who saw it as a threat to their creative freedom.
The central point of discontent lies in the reform of the tax credit and selective contributions to cinema, a system that until 2022 had distributed almost 850 million euros [[1]]. The funding, granted without stringent parameters on the quality of the films, had allowed many Italian productions to obtain significant resources without achieving box office success. Some emblematic cases of this inefficiency have been reported by journalistic investigations, which highlighted the gap between the funds received and the modest takings of some films.
In an effort to revitalise the Italian cinema industry, Sangiuliano had also proposed a €10 million plan to entice people back to cinemas, with a €3.4 individual ticket subsidy [[1]]. However, his reforms were met with resistance from the film industry, which saw them as a threat to their livelihoods.
Sangiuliano’s resignation has left a power vacuum at the Ministry of Culture, and it remains to be seen how his successor will tackle the complex issues surrounding cinema funding. The Italian film industry is at a crossroads, and the government must find a balance between supporting creativity and ensuring that state funds are used efficiently.
As Italy navigates this period of transition, the future of cinema funding remains uncertain. One thing is clear, however: the country’s film industry must adapt to the changing times and find ways to produce high-quality films that resonate with audiences, while also ensuring transparency and accountability in the use of public funds.
Sangiuliano’s exit from the Ministry of Culture has left behind a trail of controversy and suspicion. His reforms, although well-intentioned, were met with resistance from the film industry, and his successor must find a way to navigate the complex issues surrounding cinema funding. The future of Italian cinema hangs in the balance, and only time will tell if the country can emerge from this period of turmoil with a revitalised and thriving film industry.
