By Bradley Cooper
The Venice Film Festival turns 80 and we couldn’t be happier to celebrate the oldest festival in the world! In the next pages you will find a quick look at the selected films in Competition and an overview of the upcoming unmissable festivals and markets. We will bring you inside the 2023 editions of MIPCOM and AFM with a glance at the most recent events as the showcase Giffoni Next Generation. We will also go deep in the strategies of Premiere Film Distribution through the words of its founder and for more detailed information on the state of the streaming industry have a look at the Parrot Analytics Report Cards
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Enjoy the reading and Venice!
Stefania Veneri Editor in ChiefJust Cinema International www.justcinematabloid.com info@justcinematabloid.com
Executive Editor: Roberto Pinotti
Editorial contributors: Lucy Preston, Robert McKeen, Giulia Neri, Silvia Ricciardi.
Cover: Maestro ©Netflix Free
Plume Media & Communication
Iscrizione ROC N° 37294
Direttore Editoriale: Stefania Veneri
Direttore Responsabile: Roberto Pinotti
Periodico Trimestrale
Reg. Tribunale di Terni 1855/2021
ISSN- 2785-7174
Stampa: Graffietti Stampati
© Tutti i diritti riservati
Editor in Chief: Stefania Veneri
www.justcinematabloid.com
© Credits Lorenzo Mattoti per La Biennale di Venezia - Foto ASAC
SEPTEMBER 7-17
The Toronto International Film Festival returns in September 2023 for its 48th edition.
11 days of international and Canadian cinema, special events featuring some of the biggest names in film, and TIFF’s Industry Conference, offering diverse and innovative perspectives on the art and business of film. Studio Ghibli’s feature film, The Boy and the Heron, from Academy Award-winning visionary director Hayao Miyazaki, will open the Festival.
Ferrara Film Festival has assumed an important role in the national film festival landscape and, year after year, has become a testament to the city of Ferrara, a UNESCO World Heritage Site. With 40 events spread across 8 days and an expected audience of around 20,000 visitors, this year’s edition is shaping up to be special featuring numerous national and international premieres and exceptional red-carpet experiences. Celebrated actor Giancarlo Giannini will officially open the festival on September 16th to receive the Golden Dragon Lifetime Achievement Award.
SEPTEMBER 23-29
Tirana International Film Festival is an international film festival created in 2003 as one of the most important cinematic events in Europe approved as an official Academy Awards® and European Film Awards qualifying festival. The daily program of TIFF combines more than 200 premieres of feature and short films in competition in all formats and genres: fiction, documentary, animation, experimental and video art. Open to any filmmaker from around the world, TIFF showcases new cinematic work by established directors with international reputations as well as movies by talented students and young artists.
“As an Italian actor, I am proud to have received the coveted and prestigious Star on the Walk of Fame after so many years of being nominated for an Oscar. I would also like to express my gratitude to the Institutions and the city of Ferrara for awarding me the Lifetime Achievement Award at the Ferrara Film Festival. I will personally collect this award next September”, Giannini stated upon accepting the invitation from the festival’s director, Maximilian Law.
SEPTEMBER 22-30
San Sebastian’s film programme consists of some 200 films selected for six competitive sections (Official Selection, New Directors, Horizontes Latinos, Zabaltegi-Tabakalera, Perlak and Nest) and seven non-competitive sections (Culinary Zinema, Made in Spain, Zinemira, Velodrome, Movies for Kids, Retrospective and Klasikoak). Javier Bardem will receive a Donostia Award during the opening gala of the 71st edition, on Friday 22 September. The image of the official poster, work of the advertising agency Dimensión from photographs by Nico Bustos, pays tribute to the actor’s chameleonic prowess.
The Zurich Film Festival provides a platform for the most promising filmmakers from around the globe. It aims to promote exchange between emerging directors, successful film workers, the film industry and the general public. Every autumn, the ZFF presents the year’s greatest discoveries and most anticipated films. Film screenings in the presence of cast and crew, and the Public ZFF Masters events offer unique opportunities for the general public to interact with filmmakers.
According to the motto “Filmfest for everyone – everywhere in Hamburg”, the first film festival opened in Hamburg in 1992. Every autumn, Filmfest Hamburg attracts more than 45,000 cinema fans.Over ten days, around 130 national and international feature films and documentaries are shown on 14 screens. The event presents the first productions of young German and international filmmakers as well as the films of established directors. In addition, it brings television productions to the big screen before they are broadcast on TV.
RIFF is one of the biggest and most diverse cultural events in Iceland. The festival also manages the RIFF industry office, complete with a video library, information and guest services, and co-organizes networking meetings and dinners for the attending professionals. The festival shows a wide range of dramas and non-fiction films from over 40 countries. The festival highlights independent film making from all over the world with the emphasis on up-and-coming filmmakers, with the main prize – the Golden Puffin, being awarded only to first or second-time directors. RIFF was founded in September 2004, by a small group of film professionals and film enthusiasts led by Festival Director Hrönn Marinósdóttir, with the goal of presenting new and progressive quality films, supporting innovation in filmmaking, networking between professionals from various parts of the world and fostering social and cultural dialogue.
Film at Lincoln Center has unveiled the 61st New York Film Festival poster by iconic filmmaker Jim Jarmusch, director of seven NYFF selections including NYFF24 Opening Night film Down by Law. NYFF posters are a yearly artistic signature of the film festival, and Jarmusch joins a stellar lineup of renowned artists who have contributed their work to the festival, including Andy Warhol, Roy Lichtenstein, David Hockney, Saul Bass, John Waters, Cindy Sherman, Pedro Almodóvar, Kara Walker, and last year’s artist, Nan Goldin. The complete list of NYFF poster artists to date can be found below. Jarmusch says of his design: “Since arriving in New York City decades ago, attending the NYFF has been my version of going to church. I’m honored to have been asked to create the poster for the 61st NYFF, joining a list of filmmakers, artists, and friends who have done so in the past. For this poster the image was pulled from the files of several thousand useless photographs I’ve taken since getting my hands on a camera as a teenager,” he continued. “I consider them to be useless not necessarily in a negative way, but because they’ve almost never had any intended ‘use.’”
“Most of my favorites are random, playful, or accidental,” added the filmmaker. “This one’s from the late ’70s, an incidental portrait of a friend, hiding her face with a Japanese album cover from the 1960s. Its image is of film star Yûzô Kayama (The Sword of Doom, Red Beard, Sanjuro, etc.) and rock musician (!)—an LP of his psychedelic surf band, The Launchers.”
The limited edition posters are now available for purchase via Posteritati.
OCTOBER 7-10
Asian Contents & Film Market is a business venue at which professionals in the content industry, such as film, audiovisual, book, webtoon, web novel, and story, from 50 countries gather to conduct transaction and promotion for film and original IP and build a network, while assessing the current trend in relevant industries. As a networking and business platform for industry professionals worldwide, ACFM provides various programs, including investment and co-production markets, industry conferences and events, and film production funding programs. Over 2,000 industry professionals from more than 50 countries participate in ACFM every October during the Busan International Film Festival.
MIA is a market event based in Rome at its ninth edition in 2023 from October 9th to 13th. A hotbed of discussion, debate, and confrontation among the most important international executives, MIA is a destination for the global film and audiovisual ecosystem, conceived as a curated market, a physical and digital space for feature-length films (fiction, animation and documentary), as well for series (drama, documentary, factual and animation). Today, MIA is the most important industry event in Italy and is one of the must-attend international events focused on co-production, financing strategies and models, sales and distribution of works, and content showcase, and is an effective platform for talents and projects circulation.
ÔMIA is a strategic market, created in 2015, and organized by ANICA and APA who bring their respective skills to produce the largest audiovisual market event in Italy, which has now fully entered the international agenda of appointments dedicated to professionals in the sector. MIA is made possible thanks to the support of national and European institutions that collaborate in the development of a program made of excellence and is financed by the Ministry of Foreign Affairs and International Cooperation – ICE Agency, is supported by Creative Europe MEDIA, is co- funded with the support of Ministry of Culture, the Ministry of Enterprises and Made in Italy, the Lazio Region, and also supported by prestigious private sponsors.
OCTOBER 10-15
Founded in 1955, DOK Leipzig is the oldest documentary film festival in the world and is unique among festivals worldwide in offering a combination of documentary and animated film. During the week-long festival, about 250 short and long films and extended reality (XR) works are shown in Leipzig. DOK Leipzig is both a public festival and a meeting place for the international documentary film industry. DOK Industry welcomes some 1,600 trade visitors every year and offers them a marketplace for film projects as well as networking opportunities in an environment conducive to productivity. DOK Industry has established a reputation as an inspiring forum for fresh, creative ideas, collaboration and the promotion and distribution of new film projects.
MIPJUNIOR gathers in Cannes the most influential buyers, commissioners, producers, development executives and distributors from the global Kids TV industry. MIPJUNIOR will take place on 13-15 October 2023, with a pre-opening on the Friday including the opening of the Screenings Library, conference sessions and an opening cocktail. Followed by a targeted weekend of in-person networking, pitching, conferences and content discovery through the world’s largest Screenings Library of Kids content.
OCTOBER 16-19
The World’s Greatest Gathering of TV and Entertainment Executives
The World’s Greatest Gathering of TV and Entertainment Executives
The 39th edition of MIPCOM CANNES brings together more than 12,000 delegates from over 110 countries, including 3,000 buyers, to the city of Cannes. MIPCOM is the most anticipated week for global decision-makers to compete for new series, source international production partners, and set the development agenda for the coming year and beyond.
OCTOBER 19-29
Doclisboa seeks to imagine reality through new cinematic forms of perception, reflection and action, placing filmmaking into dialogue with its history to question the present of cinema. Doclisboa is interested in films that are rigorous about their conceptual and formal implications; films that experiment with cinema’s artistic and political possibilities and refuse to be categorized; films that engage with and mirror the complexity of the world. Doclisboa offers a ground where cinema and the contemporary are investigated as acts of being together in, and with, time.
OCTOBER 18-29
The 18th edition of the Rome Film Fest will be held from October 18 to 29 at the Auditorium Parco della Musica, which will host the main screening theatres and the extensive red carpet, one of the largest in the world. The programme will also involve other locations and cultural entities of the Capital city. Alice nella città, the independent and parallel sidebar of the Rome Film Fest dedicated to the younger generations, will take place following the same timeline as the Fest.
Over five days, AFM immerses you in the world’s film community, opening monumental opportunities to network, expand your knowledge, gain visibility, discover new production options, develop future projects, and access industry professionals who finance, produce and distribute independent content globally.
More than 130 leading international sales and production companies have already committed for AFM23, as well as territorial Buyers representing all segments of distribution from more than 40 countries.
In addition to the companies buying and selling at the market, and the experts speaking in conferences, AFM hosts LocationEXPO,
which brings together the world’s Film Commissions, and Production Service Companies to help attendees with their next projects and to learn more about the latest tax incentives, rebates, financial benefits and production services available throughout the world.
This year, LocationEXPO will be located in dedicated spaces on the 1st Floor, 2nd Floor, and Penthouse of the Le Méridien Delfina and 30+ organizations are already confirmed. New this year is the LocationEXPO Studio which will feature small group presentations, receptions and meet-ups for producers throughout the market.
NEM DUBROVNIK will return in 2024 for its 11th edition.
As the organizers announced, the TV market will be held from June 10 to 13 2024, again at Hotel Dubrovnik Palace.
“When it comes to the number of participants and richness of the agenda, NEM Dubrovnik 2023 was memorable. But we love to focus on the future, raise the bar, and stay creative while doing so. Technology is creating a whole new world before our eyes, the media landscape is undergoing a deep transformation and the industry needs to keep up by staying educated and connected. Content is another story, and yet it is a story that is exploding daily.
These are NEM Dubrovnik’s main assignments”, said Sanja Božić Ljubičić,
owner of Croatian marketing and TV industry agency Mediavision and initiator of NEM Dubrovnik and NEM Zagreb
Throughout the years, multiple participants have described NEM Dubrovnik as “a must-attend” event which gathers the best world media experts, panelists, and presenters to comment on new trends, different strategies, and changes in the TV business.
Over four days, Dubrovnik becomes the European center for networking and ideas exchange through panels, presentations, new TV content introduction and other relevant TV industry events.
Due to its special focus on quality networking, NEM Dubrovnik stands out on the map – it is famous as a TV market where deep business connections are made in a comfortable setting.
Releases in North-America on September 12. Foreign Rights Available at Venice
British-Canadian writer and director Alison Murray’s new feature film Ariel: Back to Buenos Aires will be available on demand on September 12. The film is distributed in the the U.S. and Canada by Level 33 Entertainment. World Sales by House of Film
Ariel: Back to Buenos Aires is the captivating story of a brother and sister returning to their birthplace, Argentina, for the first time as adults. Immersed in the glamourous tango clubs of Buenos Aires, they uncover long-kept family secrets and the heart-wrenching reasons behind their parents’ emigration, leading to a profound journey of discovery and self-understanding.
The movie has won the prize of “Best Foreign Feature” at the Arizona International Film Festival, “Best International Feature” at the Latino Film Market NYC and “Jury Prize” at the Mumbai International Film Festival. It has also been selected for 10 other festivals.
Ariel: Back to Buenos Aires exposes the long-term impact of the oppressive practices of the U.S.backed military dictatorship in Argentina, while taking the viewer on a passionate journey through a world of tango dance and music.
UPCOMING
Bone Creek is a female-centric thriller in which a lonely housewife writes love letters to a convict through her church group, as an escape from the prison of her isolated marriage to an abusive cop. When Ricky escapes he comes looking for her to help him evade the police. Vera realizes she is trapped between her husband, a skilled investigator and the desperate man she thought she was in love with. They are two equally violent and ruthless men. Defying her husband, trying to find her own escape as well as Ricky’s, Vera must rely on herself and outsmart both men as the noose tightens around her neck.
Alison Murray is represented by Ben Silverman at Integral Artists - ben@integralartists com WORLD SALES for ARIEL BACK TO BUENOS AIRES by House of Film - www houseoffilm com distribution@houseoffilm com
Marc Côté has been a street chaplain and parish priest for over 25 years, helping the poor and the homeless. He is exhausted from running his church, which doubles as a refuge, and is stressed by the bills it can no longer pay. Marc must face the facts: he will have to shut his church down. Out of the blue, he inherits a property in the countryside. He decides to take a group of homeless people who, like him, need a vacation.
ONE SUMMER is a story woven with laughter and tears… a feel-good tale where sun and clouds meet, leaving viewers with their hearts beating and a delicious taste of hope.
Director: Louise Archambault
Writer: Marie Vien
Producer: Antonello Cozzolino, Brigitte Léveillé
Cast: Patrice Robitaille, Élise Guilbault, Sébastien Ricard, Guy Nadon
SUMMER QAMP is a moving, compelling and joyful documentary following a group of LGBTQ+ youth at an idyllic lakeside camp in Alberta, Canada - CAMP fYrefly. The campers enjoy the traditional summer camp experience in a safe, affirming environment where they deepen their connections with their own community and themselves.
Warm, funny, and moving ― and made with obvious consideration for, and clear cooperation from, the people in front of the lens ― SUMMER QAMP cuts through the fear-mongering around queer and trans kids simply by spending time with its subjects as they are. The kids at Camp fYrefly are less concerned with their specific status in the LGBTQIA2S+ community than they are with what they’re going
to do in the talent show or how they’re going to overcome a lifelong fear of horses ― which, honestly, does seem a lot more practical. Removed from bullies and awkward or uncomfortable family situations, the kids immediately blossom into their empathetic, confident, amazing selves, sharing nerdy obsessions and encouraging one another to do the things that scare them.
TIFF PROGRAMMER NOTES
At Camp fYrefly in rural Alberta, queer, non-binary, and trans teens get to just be kids in a supportive space, surrounded by counselors who can relate to their experience ― and help them toast the perfect marshmallow.
Improving the skills of talented European professionals is a core objective of the Creative Europe MEDIA programme of the European Union. The training courses are all funded by MEDIA, and they take place all over Europe and beyond.
The MEDIA programme is the funding for the audiovisual sector in Europe under the umbrella of the Creative Europe Programme of the European Union. MEDIA has a budget of 1.4 billion Euros until the end of 2027, with a special focus on transnational cooperation in the European audiovisual sector. MEDIA strengthens cooperations between the audiovisual industry on a global level and increases the outreach of European fi lms and projects, constantly aiming to reach new audiences. MEDIA supports producers, game developers, distributors, sales agents, festivals, markets, trainings, VOD services, cinemas and more. The 77 training courses cover the entire audiovisual sector ranging from script development, project development, co-production, production, post-production to management, distribution & marketing and mentoring & networking. All deadlines and additional information can be found at creative-europe-media.eu
The event showcasing exclusive previews of powerful films focused on human rights and social justice.
Friday 1 September - Venice
“Lights! Camera! Impact! How films put ideas in motion and drive change” is a celebration of cinema that puts creativity at the service of social issues. The event will be hosted , during the 80th Venice International Film Festival, on Friday 1 September, from 5pm, by the Home of The Human Safety Net, inside the Procuratie Vecchie in St. Mark’s Square in Venice, the award-winning architectural revival by David Chipperfield
Meant to be a place for discussion and dialogue on social inclusion issues. Organised in partnership with Think-Film Impact Production and Vital Voices Global Partnerships, it will showcase exclusive previews of powerful films which address human rights and social justice, themes at the heart of the commitment of The Human Safety Net, and will gather dynamic voices from the entertainment, philanthropy, and human rights advocacy world.
The event will be the occasion for the Italian premier of the short film “Portrait of a Stranger”, a collaboration between award-winning filmmakers Platon and Anadil Hossain, and UNHCR (The UN Refugee Agency). Also featured will be Tamara Kotevska, director of “The Walk”, Alyse Nelson, co-founder of Vital Voices, DanielleTurkov-Wilson, Think-Film CEO, actors Elsa Zylberstein and Yalitza Aparicio and multi-award winning documentary director Stefano Savona. “We believe cinema has the power to raise understanding and empathy around issues of social inclusion and can influence public narratives supporting the work of those who are committed to empowering even the most vulnerable to express their full potential. This year we want to celebrate the two worlds of cinema and social action with those who dedicate their creativity to impactful work” said Emma Ursich, Executive Officer The Human Safety Net.
By Stefania Veneri
How would you describe Premiere Film’s lineup? What is your editorial policy?
The lineup of Premiere Film aspires to represent, without limitations of genre, narrative tone, or themes addressed, the great diversity that the world of film production is capable of staging today, selecting films solely based on their quality. When a film is proposed to us for festival distribution, whether it’s a short or a feature, a documentary or a work of fiction, the first thing it must do is captivate us and convince us with its cinematic and narrative qualities. When I think about the world of short films, for example, which numerically represents undoubtedly the most significant part of our catalog, one of the most apparent things when looking at the international landscape of productions is the tremendous sense of creative and productive freedom that this sector embodies, a kind of freedom that is very challenging to replicate in the world of feature films. Our ambition as distributors is to represent this diversity in themes, tones, languages, and stories proposed through our catalog.
What is the strength of Premiere Film and the added value it brings as a distributor?
The primary strength of a distribution like ours is the continuous care given to the film throughout its distribution journey. Distributing a film is a lengthy process, lasting from a minimum of 18 months to well over two years. In this journey, the first crucial aspect is to have a shared distribution vision among the distributor, producer, and creators. For us, this is an essential starting point without which we cannot begin. Each production
has different goals, ambitions, and hopes for its film, and every distribution strategy must be tailored to each specific film. When embarking on a distribution journey with us, you engage with Premiere Film representatives who will oversee the film throughout the entire period, plan the strategy, monitor it during the process, and take care of every aspect of the work throughout the distribution period.
In 2018, Premiere launched the Premiere Film Platform. Could you tell us how it works and how it developed?
The Premiere Film Platform, which we introduced at the Italian Pavilion of the Cannes Film Festival in 2018, is an important communication tool with producers and directors.
Our work relies heavily on close and direct contact with those who have produced, directed, and worked on the films we distribute. Therefore, every production always has contacts within our company whom they can reach out to at any time.However, it was essential for us to build a tool that could be active 24 hours a day to keep track of all the work done and update it in real-time.
The Premiere Film Platform serves this purpose precisely: productions can access their private page and have a constantly updated report of all submissions made, deadlines, notification dates, selections received, and festivals awaiting responses, among other information.
The Premiere Film Platform is a tool to keep producers and directors constantly informed about the status of distribution, working alongside and supporting the efforts of the Premiere Film team.
Come descriveresti la line-up di Premiere Film e qual è la vostra linea editoriale?
La line up di Premiere Film ambisce a rappresentare, senza limitazioni di genere, tono narrativo o temi trattati, la grande diversità che oggi il mondo della produzione cinematografica riesce a mettere in scena, selezionando solo in base alla qualità dei film. Quando ci viene proposto un film per la distribuzione festivaliera, che sia un corto o un lungo, un documentario o un lavoro di fiction, la prima cosa che deve fare è colpirci, convincerci con le sue qualità cinematografiche e narrative.
Se penso al mondo dei cortometraggi ad esempio, che numericamente rappresenta senz’altro la parte più importante del nostro catalogo, una delle cose più evidenti quando si guarda il panorama internazionale delle produzioni è proprio il grande senso di libertà creativa e produttiva che questo settore rappresenta, un tipo di libertà molto difficile da replicare nel mondo dei lungometraggi.
La nostra ambizione come distributori è riuscire a rappresentare, con il nostro catalogo, questa diversità, nei temi, nei toni, nei linguaggi e nelle storie proposte.
Qual è il punto di forza di Premiere Film e il valore aggiunto che apporta come distributore?
Il principale punto di forza di una distribuzione come la nostra è la costante cura del film nel suo percorso distributivo. La distribuzione di un film è un lavoro lungo, che dura da un minimo di 18 mesi fino a superare ampiamente i due anni. In questo percorso la prima cosa importante è avere una visione distributiva condivisa tra distributore, produttore e autori. Questo per noi è un punto di partenza imprescindibile, senza il quale non si può iniziare. Ogni produz-
ione ha obiettivi, ambizioni e speranze diverse per ogni proprio film, ed ogni strategia distributiva deve essere costruita su misura per il singolo film. Quando si inizia un percorso distributivo con noi si entra in contatto con i referenti di Premiere Film che si occuperanno per l’intero periodo del film, che pianificheranno la strategia, che la verificheranno durante il percorso, e che cureranno ogni aspetto del lavoro per l’intera durata della distribuzione.
Nel 2018 avete lanciato la Premiere Film Pla tform, di cosa si tratta e come si è sviluppata?
La Premiere Film Platform, che abbiamo presentato all’Italian Pavilion del Festival di Cannes nel 2018, è un importante strumento di comunicazione con i produttori ed i registi. Il nostro è un lavoro che si basa molto sul contatto stretto e diretto con chi ha prodotto, girato e curato il film che distribuiamo, per cui ogni produzione ha sempre dei referenti che può contattare in qualunque momento all’interno della nostra società.
Per noi era però importante costruire uno strumen to che potesse essere attivo sempre, 24 ore al gior no, per tenere traccia di tutto il lavoro svolto aggior nandolo in tempo reale.
La Premiere Film Platform serve appunto a questo: le produzioni possono entrare nella loro pagina pri vata, ed hanno in ogni momento un report costan temente aggiornato di tutte le iscrizioni fatte, delle scadenze, delle date di notifica, delle selezioni otten ute e dei Festival da cui si attende risposta, oltre ad un’altra serie di informazioni.
La Premiere Film Platform è uno strumento per te nere costantemente aggiornati i produttori ed i reg isti sullo stato della distribuzione, che si affianca ed aiuta il lavoro del team di Premiere Film.
Philip Osbourne and ALMOND ENTERTAINMENT: a successful collaboration between publishing, TV, and football.
By the bestselling authorYou’ve transitioned from the international success of “Diary of a Nerd” to “Martin’s Adventures.” Both are now bestsellers set to be adapted for television. Could you tell us about the new titles you’re working on and where Almond Entertainment is focusing its resources?
“Arnold and the Benchwarmers” is the title that’s gaining the most traction. After the rebranding (previously known as “Bomber and the Benchwarmers”), we not only refreshed the brand but also revitalized the content of the book series. We’re thrilled to have sold it in many countries and secured agreements with numerous football clubs. These agreements will allow us to distribute over 800,000 copies in Serie A, B, C stadiums in Italy and many other nations. Our forecast is to surpass one million copies distributed within 18 months. Alongside several other initiatives related to Arnold, such as launching an international magazine, partnering with television broadcasters, and organizing international events with cult footballers, we expect to further solidify the brand.
What other titles would you recommend to television and film producers interested in your work?
I hope animated series producers show interest in “Pet Squad,” a series featuring eccentric veterinarians. As for a live-action film or production, I believe “Kay Kant,” a young adult novel following the adventures of a “portal” boy who inadvertently transports unfriendly creatures to Earth, would be an excellent choice. Regarding “Boo!”, I’d love to create an educational cartoon exploring fears, as the story follows the adventures of two siblings who must save innocent monsters. These quirky and endearing creatures are trying to blend in with humans since they can’t return to their own world. I also think “Mole,” my upcoming book set to hit the market starting October 2023, would be perfect for a cross-audience animated series.
Speaking of “Mole,” could you share some details about the plot?
“Mole” tells the adventures of an eccentric creature living in Moleville, a place where worm farming is the most coveted profession, and everything operates in reverse. For example, throwing pies in professors’ faces is a sign of great esteem and gratitude, while tripping people is considered respectful. In other words, in Moleville, things are exactly the opposite of what you might expect. One day, worms from the depths of Moleville venture into a human metropolis, and little Mole decides to follow them. Here, he discovers how fascinating human civilization is and convinces his parents to move to the city. Once in the metropolis, he enrolls in middle school, but his quirky habits don’t help with his integration. Mole is a zany and endearing character who eventually becomes very popular, especially when he takes some of his new friends on a visit to Moleville.
What’s your opinion on artificial intelligence? Do you believe it can replace screenwriters and authors?
AI will never be able to replace the genius of a Larry David in writing a sitcom or emulate the depth of David Mamet in creating a social commentary film. Perhaps it can replace mediocre screenwriters or generate standardized books, but I don’t believe it can ever produce another Paul Auster. When we first saw Word’s autocorrect, many of us feared it would mark the end of writing and grammatical learning. But that didn’t happen. Publishers and producers looking to economize through AI will ultimately pay the price because smart people always seek and demand the best. I never underestimate human potential because I’ve read Shakespeare, watched Truffaut and Bergman films, marveled at Michelangelo’s sculptures, Da Vinci and Basquiat’s works, and been awed by Alan Moore’s comics. I know well that all these artists weren’t algorithms but extraordinary human beings.
I diritti televisivi di Arnold e gli Scaldapanchine sono rappresentati e gestiti Sydonia Entertainment
Arnold sono gestiti da Entertainment
Sei passato dal successo internazionale di “Diary of a Nerd” a “Martin’s Adventures”. Entrambi adesso sono due bestseller che stanno per essere adattati per la televisione. Potresti raccontarci quali sono i nuovi titoli su cui stai lavorando e su cui la Almond Entertainment sta concentrando le sue risorse?
Arnold e gli Scaldapanchine” è il titolo che sta crescendo maggiormente. Dopo il rebranding (in precedenza noto come “Bomber e gli Scaldapanchina”), abbiamo non solo rinnovato il marchio, ma anche rinfrescato il contenuto della serie di libri. Siamo entusiasti di averla venduta in molte nazioni e di aver stretto accordi con numerose società di calcio.
Questi accordi ci permetteranno di distribuire oltre 800 000 copie negli stadi di Serie A, B, C in Italia e in molte altre nazioni. La nostra previsione è superare il milione di copie diffuse entro 18 mesi. Insieme a una serie di altre iniziative legate ad Arnold, come il lancio
izzare un cartone educativo che esplori le paure, poiché la storia racconta le avventure di due fratelli che devono salvare dei mostri innocenti.
Queste buffe e simpatiche creature cercano di mimetizzarsi tra gli umani, dato che non possono più tornare nel loro mondo. Credo anche che “Mole,” il mio prossimo libro, che sarà presentato nei mercati editoriali a partire da ottobre 2023, sarebbe perfetto per un cartone animato destinato ad un pubblico trasversale.
Parlando di “Mole,” potresti condividere con noi un po’ di dettagli sulla trama?
“Mole” narra le avventure di una stravagante creatura che vive a Moleville, un luogo dove coltivare vermi è la professione più ambita e dove tutto funziona al contrario.
Per esempio, lanciare torte in faccia ai professori è segno di grande stima e riconoscenza, mentre fare gli sgambetti alle persone è considerato rispettoso. In altre parole, a Moleville, le cose sono esattamente l’opposto
Larry David nella scrittura di una sitcom o di emulare la profondità di David Mamet nella creazione di un film di denuncia sociale. Forse potrà sostituire sceneggiatori mediocri o generare libri standardizzati, ma non credo che possa mai produrre un nuovo Paul Auster Quando abbiamo visto per la prima volta il correttore automatico di Word, molti di noi temevano che avrebbe segnato la fine della scrittura e dell’apprendimento grammaticale.
Ma ciò non è accaduto.
Gli editori e i produttori che cercano di economizzare attraverso l’uso dell’IA alla fine pagheranno il prezzo, perché le persone intelligenti cercano sempre e cercano il meglio. Io non sottovaluto mai il potenziale umano, perché ho letto Shakespeare, ho visto i film di Truffaut e Bergman, mi sono incantato davanti alle sculture di Michelangelo, alle opere di Da Vinci e Basquiat, e mi sono stupito con i fumetti di Alan Moore. So bene che tutti questi artisti non erano algoritmi, ma esseri umani straordinari.
di una rivista internazionale, partnership con emittenti televisive e organizzazione di eventi internazionali con calciatori di culto, ci aspettiamo di consolidare ulteriormente il brand.
Quali altri titoli consiglieresti a produttori televisivi e cinematografici interessati ai tuoi lavori?
Spero che i produttori di cartoni animati mostrino interesse per “Pet Squad,” una serie che ha come protagonisti veterinari eccentrici. Per quanto riguarda un film o una produzione live action, ritengo che “Kay Kant,” un romanzo young adult che segue le vicende di un ragazzo “portale” che involontariamente trasporta sulla Terra creature non proprio amichevoli, sarebbe una scelta eccellente. Per quanto riguarda “Boo!”, mi piacerebbe real-
di ciò che ci si potrebbe aspettare. Un giorno, dei vermi provenienti dalle profondità di Moleville si spingono fino a una metropoli umana, e il piccolo Mole decide di seguirli. Qui, scopre quanto sia affascinante la civiltà terrestre e convince i suoi genitori a trasferirsi in città. Una volta giunto nella metropoli, si iscrive alla scuola media, ma le sue abitudini stravaganti non aiutano la sua integrazione. Mole è un personaggio folle e simpatico che alla fine diventa molto popolare, specialmente quando porta alcuni dei suoi nuovi amici in visita a Moleville.
Qual è la tua opinione sull’intelligenza artificiale?
Credi che possa sostituire sceneggiatori e autori?
L’IA non sarà mai in grado di sostituire la genialità di un
Parrot
presented its Q2
Hollywood’s labor stoppages are dominating the conversation halfway through 2023, with investors and analysts wondering which platform is best equipped to handle prolonged strikes. Parrot Analytics presented its Q2 2023 “Quarterly Report Card” on the state of the streaming industry to take stock of the first half of the year, and to analyze which company is set up for success amidst not just the labor strikes, but the post-sub-growth-at-all-costs phase of streaming.
Parrot Analytics analyzed the major platforms from five media companies that control over two thirds of all US demand for TV content: Disney (Disney+ & Hulu), Warner Bros. Discovery (Max), Paramount Global (Paramount+), NBCUniversal (Peacock), and Netflix. It also included demand data for Apple TV+ and Prime Video, whose parent companies do not break out subscriber or revenue numbers for their entertainment platforms, but stand out in audience demand share and major awards recognition.
Netflix has pulled a complete 180 compared to where it was in the middle of 2022.
As Wall Street shifted its entertainment priorities from subscriber growth to more traditional measures of business success, Netflix has successfully introduced an advertising tier and cracked down on password sharing. The streamer’s days of double-digit subscriber growth every quarter are likely behind it, but Netflix had a very strong Q2 2023, adding 5.9M subscribers. Netflix does continue to lose market share in terms of demand for streaming originals, but is still the dominant player in this space. It also has the highest total on-platform demand, which accounts for licensed and original TV and movies, with US consumers. Netflix’s massive scale makes it the industry leader, and it remains the biggest entertainment company that is actually profiting from its streaming operation.
Looking forward: Complicating matters for Netflix and the the entire industry will be the dual SAG-AFTRA and WGA strikes.
The global demand for streaming original content rose by 21.6% in the first half of 2023, following a brief dip in Q4 2022. Netflix has a long runway, but this growing consumer demand trend is likely to reverse if they cannot come to terms with the writers and actors in time to produce new content in the coming months. Look for Netflix to double down on international content if the strikes drag on, but will this be enough to make up for delayed seasons of its smash hits like Wednesday Stranger Things, and Emily in Paris?
Analytics
2023 “Quarterly Report Card” to take stock of the first half of the year, and to analyze which company is set up for success amidst the labor strikes and the post-sub-growth-at-all-costs phase of streaming.
Demand for original series is a key leading indicator of subscriber growth for SVODs. Disney+ has lost momentum in 2023, ticking down from 10.2% global share at the end of December 2022, to 9.4% by March 2023, and 8.8% as of June 2023. This has coincided with a loss of of nearly 16 million global subscribers over the last two quarters.
While Season 3 of The Mandalorian and the recent debut season of Secret Invasion have performed well enough, recent entries in the respective Star Wars and Marvel franchises have not matched the highs of earlier series. Given Disney+ s reliance on these two core content pillars, reestablishing both as marquee streaming destinations will provide a boost to the entire platform.
While Amazon Prime Video continues to license content from other companies, which should only get easier as studios look to generate more revenue and deemphasize platform exclusivity, it is still counting on its roster of originals to drive demand and value.
In Q2, its top 10 most in-demand originals in the US were all among the top 2.7% of TV titles in that timeframe. However, the conclusions of The Marvelous Mrs Maisel and Jack Ryan leave Prime Video without some of its marquee originals at a time when the delivery of fresh scripted content over the next several months is uncertain due to the ongoing Hollywood strikes. Looking further ahead, Amazon is undoubtedly hoping that new seasons of costly series such as Citadel and The Lord of the Rings: The Rings of Power continue to build on their first season audience.
Paramount Global is in third place when it comes to corporate demand share, but Paramount+ ranks no higher than fifth in terms of on-platform or original content demand However, the streaming service gained significant on-platform demand share in Q2 2023 – which accounts for all series and movies available on a platform regardless of exclusivity – as it moved up from 9.2% to 11.2% versus last quarter, and from sixth to fifth place. Paramount+ jumped ahead of Disney+ in this ranking, and is within a rounding error of Prime Video for fourth.
The combination of its Walmart+ deal and Showtime platform consolidation seem to be helping Paramount+ with scale, but it is unclear how much this will add to the company’s bottom line as all streaming companies focus on reaching consistent profitability. According to the report, it remains to be seen how Paramount+ breaks into the top three streaming category alongside Netflix, Disney, and Warner Bros Discovery
Led by the third season of Ted Lasso, as well as breakout hit Silo, Apple TV+ hit new highs in streaming originals demand share in the US and around the world.
When it comes to demand for original series, Apple TV+ is now the third most in-demand service with US audiences, jumping ahead of Disney+, and the fourth most in-demand globally. Ted Lasso was the most in-demand streaming original with global audiences from April-June 2023, the first non-Netflix or Disney+ original to achieve this ranking since 2017.
The biggest event for Apple TV+ in the last six months may have been soccer superstar Messi signing with MLS squad Inter Miami. With MLS Season Pass, Apple now has exclusive access to live games of one of the most in-demand athletes in the world.
Courtesy of Parrot Analytics
For the full report visit www.parrotanalytics.com
COMANDANTE (Opening Film)
By Edoardo De Angelis
With Pierfrancesco Favino, Massimiliano Rossi, Johan Heldenbergh, Arturo Muselli, Giuseppe Brunetti, Gianluca Di Gennaro, Johannes Wirix, Silvia D’Amico, Paolo Bonacelli.
BASTARDEN (THE PROMISED LAND)
By Nikolaj ArcelWith Mads Mikkelsen, Amanda Collin, Simon Bennebjerg, Melina Hagberg, Kristine Kujath Thorp, Gustav Lindh.
DOGMAN
By Luc BessonWith Caleb Landry Jones, Jojo T. Gibbs, Christopher Denham, Clemens Schick, Grace Palma.
LA BÊTE
By Bertrand BonelloWith Léa Seydoux, George MacKay.
HORS-SAISON
By Stéphane BrizéWith Guillaume Canet, Alba Rohrwacher.
ENEA
By Pietro Castellitto
With Pietro Castellitto, Giorgio Quarzo Guarascio, Benedetta Porcaroli, Chiara Noschese, Giorgio Montanini, Adamo Dionisi, Matteo Branciamore,
Cesare Castellitto, Sergio Castellitto.
MAESTRO
By Bradley Cooper
With Carey Mulligan, Bradley Cooper, Matt Bomer, Maya Hawke, Sarah Silverman, Josh Hamilton, Scott Ellis, Gideon Glick, Sam Nivola, Alexa Swinton, Miriam Shor.
PRISCILLA
By Sofia CoppolaWith Cailee Spaeny, Jacob Elordi, Dagmara Dominczyk.
FINALMENTE L’ALBA
By Saverio CostanzoWith Lily James, Rebecca Antonaci, Joe Keery, Rachel Sennott, Alba Rohrwacher, Willem Dafoe.
LUBO
By Giorgio DirittiWith Franz Rogowsky, Christophe Sermet, Valentina Bellè, Noemi Besedes, Cecilia Steiner, Joel Basman, Filippo Giulini, Alessandro Zappella.
ORIGIN
By Ava DuVernayWith Aunjanue Ellis-Taylor, Jon Bernthal, Vera Farmiga, Niecy Nash-Betts, Audra McDonald, Nick Offerman, Connie Nielsen.
THE KILLER
By David FincherWith Michael Fassbender, Arliss Howard, Charles Parnell, Gabriel Polanco, Kerry O’Malley, Emiliano Pernía, Sala Baker, Sophie Charlotte, Tilda Swinton.
MEMORY
By Michel FrancoWith Jessica Chastain, Peter Sarsgaard, Brooke Timber, Merritt Wever, Elsie Fisher, Jessica Harper, Josh Charles.
IO CAPITANO
By Matteo Garrone
With Seydou Sarr, Moustapha Fall.
AKU WA SONZAI SHINAI (EVIL DOES NOT EXIST)
By Ryûsuke HamaguchiWith Hitoshi Omika, Ryo Nishikawa, Ryuji Kosaka, Ayaka Shibutani.
ZIELONA GRANICA (GREEN BORDER)
By Agnieszka HollandWith Jalal Altawil, Maja Ostaszewska, Tomasz Włosok, Behi Djanati Atai, Mohamad Al Rashi, Dalia Naous.
DIE THEORIE VON ALLEM
By Timm KrögerWith Jan Bülow, Olivia Ross, Hanns Zischler, Gottfried Breitfuss, David Bennent, Philippe Graber.
POOR THINGS
By Yorgos Lanthimos
With Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Suzy Bemba, Jerrod Carmichael, Kathryn Hunter, Vicki Pepperdine, Margaret Qualley, Hanna Schygulla
EL CONDE
By Pablo LarraínWith Jaime Vadell, Gloria Münchmeyer, Alfredo Castro, Paula Luchsinger.
FERRARI
By Michael MannWith Adam Driver, Penélope Cruz, Shailene Woodley, Sarah Gadon, Gabriel Leone, Jack O’Connell, Patrick Dempsey.
ADAGIO
By Stefano SollimaWith Pierfrancesco Favino, Toni Servillo, Valerio Mastandrea, Adriano Giannini, Gianmarco Franchini, Francesco Di Leva, Lorenzo Adorni, Silvia Salvatori.
KOBIETA Z… (WOMAN OF)
By
Małgorzata Szumowska,Michał Englert.
With Małgorzata Hajewska-Krzysztofik, Joanna Kulig, Bogumila Bajor, Mateusz Wieclawek.
HOLLY
By Fien TrochWith Cathalina Geraerts, Felix Heremans, Greet Verstraete, Serdi Faki Alici, Els Deceukelier.
Giffoni Next Generation is the showcase of innovation promoted by Giffoni Innovation Hub within the 53rd edition of the Giffoni Film Festival. During the Giffoni event, we met those who witnessed its birth and evolution, turning it into an event that embodies and reflects the complexities of the Under 30 crowd. At the same time, it serves as a platform to connect and engage them in dialogue with corporate entities and experienced figures.
Have the expectations, needs, and dreams of the dreamers changed over these 10 years?
The desires and expectations of our dreamers are at the forefront of our activities. We have always aimed to construct a program that fulfills all of their needs. We accomplish this by gathering their feedback, sitting down with them, and understanding year after year the themes to address and the goals to aspire to. We consider which guests are best suited to engage with them, offering insights and reflections beneficial to their educational and professional journey. We utilize new technologies and languages to the fullest. As for whether their expectations have changed, the answer is un-
equivocally yes, as is only natural considering the global upheavals, beginning with the pandemic and followed by the war. This has led to a reevaluation of priorities, accelerating matters such as digital and environmental transitions, while still keeping an eye on the socioeconomic landscape. In this regard, we can express satisfaction because even in the most challenging times, we found ways to support our dreamers.
Giffoni Innovation Hub serves as a creative hub for innovation, both in Italy and internationally. What are the main challenges when operating on such a broad scale?
Rather than speaking of challenges, I would prefer to discuss opportunities. Presently, the numerous startups or individual individuals who approach us to develop and realize entrepreneurial ideas are presented with a wide array of opportunities. This is due to our extensive network of contacts and partnerships across Europe and the world. Innovation thrives on cross-pollination, and we at Giffoni Hub believe that openness to developments beyond local and national borders is crucial. We remain attentive to novelties, new paradigms, and various applications of new technologies, ensuring that no detail is overlooked as we fulfill our entrusted work. It’s worth noting the various tools that public institutions also make available to companies like ours. Consider, for instance, the internationalization process that the Campania Region has been investing in for years, along with different initiatives to promote the emergence and growth of innovative startups, supporting the efforts of certified Incubators such as Giffoni Innovation Hub. This region has emerged as a leader in technological innovation.
What kind of feedback do you receive from companies participating in the events or mentorship programs?
Companies are finding it increasingly difficult to connect with the younger generations. It’s as if, in this historical moment, both small and corporate boards struggle to keep up with youthful trends. Young people are weary of hearing that investing in them is an investment in the future, because before being the future, they are fully aware that they are the present, and they assert this loudly. They want to be listened to, and it’s only right to do so attentively and not in a distracted or superficial manner. This is the dynamic at Giffoni, where the youth are the true protagonists, taking the stage with dreams and ambitions, a determination to make a difference. They are candid, forthright, critical, and constructive all at once. The guests and partners are there at their disposal, representing the means through which they can express themselves and address the anxieties of our times. The Giffoni formula has consistently worked, and companies return year after year, with new ones joining because they’ve realized that meaningful change becomes possible only through a level-headed dialogue with the new generations. And as of now, this balanced exchange is achievable solely at Giffoni.
Are there any goals or prospects for further development that you are currently working on?
The theme of AI and its rapid development in recent years has undoubtedly reshuffled the “to do list” for many companies, including our own. Working in the media, entertainment, and edutech sectors, we cannot ignore AI’s significance. We have tackled this topic before, not only presenting the opportunities linked to AI to young generations but also outlining the risks associated with the uninformed and misguided use of such technology. Among the many initiatives underway, I believe this is one of the most crucial. We approach it in line with the philosophy of Giffoni Innovation Hub, which involves learning first so that we can impart knowledge and skills to the young individuals who choose us as a solid foundation on which to build their personal and professional paths.
One of the undeniable strengths of Giffoni Next Generation is the sincere and lively atmosphere it fosters. What else would you add?
Undoubtedly, the Giffoni Next Generation event has been fortunate, since its inaugural edition, to be hosted within the larger context of the Giffoni Film Festival. This has been made possible through the director and creator of Giffoni, Claudio Gubitosi, who in 2014 embraced the idea of incorporating an innovation showcase. The event undoubtedly inherits the atmosphere, liveliness, and tremendous energy that over 6,000 jurors, representing more than 52 nations, bring to Giffoni Valle Piana each year. We are a family that
www.justcinematabloid.com
welcomes and nurtures thousands of young individuals from all around the world.
While Giffoni welcomes the world in July, during the subsequent months, it is the world that embraces Giffoni. This, I must say, is a significant strength of our event that reaches its zenith in the summer thanks to the year-round effort put into it. As we conclude the reports of this latest edition, we will immediately embark on new projects and commitments that will enrich our offerings for companies and invigorate the youth. Additionally, in 2024, we will celebrate a significant milestone: the first ten years of Giffoni Innovation Hub and Giffoni Next Generation.
Giffoni Next Generation è la rassegna all’insegna dell’innovazione promossa da Giffoni Innovation Hub all’interno della 53° edizione del Giffoni Film Festival e, proprio a Giffoni, abbiamo incontrato chi l’ha vista nascere ed evolversi, fino a diventare un evento che vive e riflette la complessità degli Under 30 e, allo stesso tempo, è capace di connetterli e farli dialogare con realtà aziendali e figure di grande esperienza e rilievo.
In questi 10 anni sono cambiate le aspettative, le esigenze e i sogni dei dreamers?
I desideri e le aspettative dei nostri dreamers sono il principale scopo delle nostre attività. Da sempre cerchiamo di costruire un programma che possa soddisfare tutte le loro esigenze. Lo facciamo raccogliendo i loro feedback, sedendoci a tavola con loro, cercando di capire anno dopo anno quali sono le tematiche da affrontare, gli obiettivi a cui guardare, pensando a quali ospiti affidare il compito di relazionarsi con loro per offrire loro spunti e riflessioni utili al percorso di crescita di studio e professionale che hanno intrapreso, o intendono intraprendere, sfruttando al meglio le nuove tecnologie e i nuovi linguaggi. Mi chiede se le loro aspettative sono cambiate e la risposta è assolutamente sì com’è normale che sia considerati gli stravolgimenti globali, prima la pandemia e poi la guerra, e la necessità di rivedere le priorità accelerando su questioni come la transizione digitale e quella ambientale, senza mai perdere di vista il quadro economico-sociale. Anche in questo caso possiamo ritenerci soddisfatti perché nei momenti più difficili abbiamo trovato il modo di supportare i nostri dreamers.
Giffoni Innovation Hub è un polo creativo di innovazione che opera in Italia e all’estero, quali sono le difficoltà maggiori che si incontrano quando si agisce su un raggio così ampio?
Più che parlare di difficoltà mi piacerebbe parlare di opportunità. Ad oggi le tante startup o il singolo ragazzo che si rivolge a noi per sviluppare e realizzare un’idea imprenditoriale trova davanti a sé un grosso ventaglio di opportunità grazie alla rete di contatti e alle tante partnership che abbiamo in tutta Europa e nel mondo. Innovazione è contaminazione, quindi noi di Giffoni Hub riteniamo necessaria questa apertura a ciò che succede oltre i confini locali e nazionali. Siamo attenti alle novità, ai nuovi paradigmi e alle tante modalità di utilizzo delle nuove tecnologie utili per non lasciare nulla al caso e sviluppare al meglio il lavoro che ci viene affidato. A riguardo mi piacerebbe poi ricordare i tanti strumenti che anche le Istituzioni pubbliche mettono a disposizione di aziende come la nostra. Penso, per esempio, al processo di internazionalizzazione su cui la Regione Campania sta investendo da anni, ai diversi bandi per favorire la nascita e lo sviluppo delle startup innovative e supportare il lavoro degli Incubatori certificati, come Giffoni Innovation Hub, in quella che ormai è una regione capofila in fatto di innovazione tecnologica.
Quali sono i feedback che ricevete dalle aziende che partecipano agli eventi o alle mentorship?
Le aziende hanno sempre più difficoltà a parlare con le giovani generazioni.
E’ come se in questo momento storico i board, sia delle aziende piccole che delle corporate, non riuscissero a stare al passo con i trend giovanili. I ragazzi sono stanchi di sentir dire che bisogna investire sui giovani perché sono il futuro, perché, prima che il futuro, le nuove generazioni sanno di essere il presente e lo rivendicano a voce alta. Vogliono essere ascoltati e sarebbe
giusto farlo con attenzione e non in maniera distratta o superficiale: così succede a Giffoni, dove i giovani sono i veri protagonisti e dove sul palco ci sono loro con sogni e ambizioni, con la voglia di fare la differenza. Schietti, diretti, critici e costruttivi allo stesso tempo. Gli ospiti e i partner sono a loro disposizione, rappresentano il mezzo attraverso il quale esprimersi e anche esorcizzare le ansie di questo tempo. La formula Giffoni fino ad ora ha sempre funzionato e le aziende ritornano più volte nel corso degli anni, e ogni anno se ne aggiungono di nuove, proprio perché hanno raggiunto la consapevolezza che solo con un confronto alla pari con le nuove generazioni i cambiamenti necessari diventano possibili. E questo confronto alla pari, ad oggi, è possibile solo a Giffoni.
Ci sono degli obiettivi o prospettive di ulteriore sviluppo a cui state lavorando?
Il tema dell’AI e il suo repentino sviluppo degli ultimi anni hanno sicuramente rimescolato le “to do list” di molte aziende, compresa la nostra. Lavorando nel settore dei media ed entertainment e dell’edutech non possiamo non tenerla in considerazione. Già in passato abbiamo lavorato su questa tematica, raccontando alle giovani generazioni non solo le opportunità legate all’AI, ma anche i rischi che si corrono nell’utilizzo inconsapevole e sbagliato di una tecnologia come questa. Credo che tra le tante cose che bollono in pentola, questa sia una delle più importanti. Ci lavoriamo nel rispetto della filosofia adottata da Giffoni Innovation Hub che è quella di essere i primi ad imparare per poi poter trasmettere conoscenze e competenze ai giovani che ci sceglieranno per porre una base solida su cui costruire il proprio percorso umano oltre che professionale.
Uno dei punti di forza di Giffoni Next Generation è indubbiamente l’atmosfera sincera e vivace che si respira, cos’altro aggiungereste? Sicuramente la rassegna Giffoni Next Generation ha avuto la fortuna, sin dalla prima edizione, di essere ospitata nel grande contenitore del Giffoni Film Festival. Tutto ciò è stato possibile grazie al direttore e creatore del Giffoni, Claudio Gubitosi, che nel 2014 accolse l’idea di ospitare una rassegna di innovazione. La rassegna eredita dal festival sicuramente l’atmosfera, la vivacità la grande energia che ogni anno più di 6000 giurati, provenienti da più di 52 nazioni, portano a Giffoni Valle Piana. Siamo una famiglia che accoglie e accudisce migliaia di giovani provenienti da tutto il mondo. Ma se a luglio è Giffoni che accoglie il mondo, nei mesi successivi è il mondo che accoglie Giffoni e questo, devo dire, è un’importante punto di forza della nostra rassegna che tocca il suo apice in estate grazie al lavoro che si svolge durante l’intero anno.
Chiusi i report di quest’ultima edizione, ricominceremo subito con nuovi progetti e nuovi impegni che arricchiranno la nostra offerta per le aziende ed entusiasmeranno i ragazzi; anche perché il 2024 tagliamo un traguardo importante: i primi dieci anni di Giffoni Innovation Hub e di Giffoni Next Generation.
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The Venice Settimana Internazionale della Critica is an independent and parallel section organised by the National Union of Italian Film Critics (SNCCI) during the 80th Venice International Film Festival. The programme includes a selection of seven debut films in competition and three special events Out of competition, all presented as world premieres.
By Dunja Lavecchia, Beatrice Surano, Morena Terranova | Italy
The outskirts of Turin. Celeste, Giorgia and Letizia are three young women as different as they come, but all are linked by a common element: as cisgender women, they are guests in the ballroom scene. A subculture originally born within the African American and Latine LGBTQ community of New York, it is now quite present in Italy as well. It is precisely here that the three women have found a safe space where they can be masters of their own bodies without judgement, prejudices, or provocation. They are about to embark on a journey that will make them grow up and reflect on choices they must make for themselves: while Giorgia is increasingly rooted to her city, Celeste and Letizia are preparing to leave. A year-long coming-of-age story that uncovers dreams, desires, doubts, and the will to fight and to keep on living.
HOARD
By Luna Carmoon | United Kingdom1984: There’s a landfill in our living room Mother and Maria’s world feels like sparkles down spines, Christmas is every day in their nidus of love 1994: He handed her to me, its weight would come in waves Maria’s last day of school. As she arrives home, at the top stairs, waiting, are two bare feet. A tall odd man, a stranger who has a familiar scent of trauma, a childhood pain, a gemini of knowing stings – Michael
HOARD
If history is written by the victors, where does that leave those who were never allowed to be part of the game? A collective of queer athletes enters the Olympic Stadium in Athens and sets out to honour those who were excluded from standing on the winners’ podium. They meet Amanda Reiter, a trans* marathon runner who has to struggle with the prejudices of sports organisers, and Annet Negesa, a 800m runner who was urged by the international sports federations to undergo hormone-altering surgery. Together they create a radical poetic utopia far from the rigid gender rules found in competitive sports.
LOVE IS A GUN
By Lee Hong-Chi | Hong Kong, Taiwan
Since his release from prison, Sweet Potato has been content with running a small business with meagre earnings by the seaside, heedless of others people’s advice against it. He is pulled into the whirlpool of his past when his old “boss” (whom he has never met), his mother (who thrusts all her debts upon him), and his buddy Maozi all re-appear into his life. One after the other, they regain control over his present life leaving him no hope for the future. Only Seven can assuage his anxieties ever so slightly. One day, at the smoggy and oppressive seaside, Sweet Potato is finally granted a meeting with the “boss”...
By Moin Hussain | United Kingdom
Adam works night shifts at a motorway service station, living a small and lonely life with little human contact or connection. Upon hearing that his estranged father has died, Adam finds himself piecing together a complicated image of a man that he never really knew and uncovers details of his life that he struggles to comprehend. Learning that his father believed he was not human, Adam initially dismisses the notion outright. However, unable to shake the thought, he begins to wonder: if this were true, what would that make him?
By Tana Gilbert | Chile, GermanyThey are women. They are mothers. They are prisoners serving long sentences in a correctional facility in Chile. Their children grow up far from them, but remain in their hearts. In prison, they find affection in other partners who share their situation. Mutual support among these women becomes a form of resistance and empowerment. Malqueridas constructs their stories through images captured by them with banned cell phones inside the prison, recovering the collective memory of an abandoned community.
SKY PEALS
By Adrien Beau | France
“My children,” says Gorcha before leaving, “wait six days for me. If, after those six days, I have not returned, say a prayer in my memory of me, for I shall have been killed in battle... But if ever, and may God preserve you, I were to return after six days have passed, I enjoin you to refuse me entry whatever I may say or do. For then, I shall be no more than an accursed Vourdalak.”
Paramount Global President and CEO Recognised for Outstanding Leadership on Global Stage.
Bob Bakish, President and CEO of Paramount Global, will be honoured with the prestigious ‘MIPCOM CANNES Personality of the Year’ award at the forthcoming 39th edition of the International Co-Production & Entertainment Content Market (16-19 Oct), presented as part of a keynote session in the world-renowned Grand Auditorium of the Palais des Festivals in Cannes on Tuesday 17 October at 17.00.
Awarded at the world’s greatest gathering of TV and entertainment executives in recognition of outstanding leadership and creative contribution to the industry, Bakish will share from the stage insights from a distinguished career and discuss his approach to evolving a preeminent global content company at a time of dramatic change across the media landscape.
“Bob Bakish personifies exemplary leadership during these transformative times.” said Lucy Smith, Director of MIPCOM CANNES. “Perhaps most ‘paramount’ to everyone attending MIPCOM CANNES is Bob’s market-leading growth strategy that sees streaming and third-party international licensing not only co-exist but flourish as business models under one global media company. He is equipping Paramount for its next era, and our Personality of the Year 2023 honour could not be timelier or more relevant.”
A revered and accomplished executive on the international stage, Zeiler’s keynote comes almost 20 years after being honoured as MIPCOM’s Personality of the Year in 2004 when CEO of RTL Group
Zeiler is expected to share insight into Warner Bros Discovery’s transformation post-merger as well as lay out the company’s worldwide content and streaming strategy. Zeiler’s responsibilities for Warner Bros. Discovery span strategic oversight of brands and joint responsibility for direct-to-consumer activity (including streaming service Max) across more than 220 markets; he is also responsible for local theatrical production, acquisitions, and country and region-specific networks and businesses in Latin America, Europe, Middle East, Africa, and the Asia Pacific. Originally appointed to the role in 2020, Zeiler’s remit extended to Discovery Inc.’s footprint in April 2022 following the close of the Discovery/ WarnerMedia merger.
