The red carpet between celebrations and anger at the workers’ protest

In a setting of rare beauty, among the imposing sets that reconstruct the magnificence of Ancient Rome in the Cinecittà studios, the red carpet of the 71st edition of the David di Donatello took place. But this year, acting as a counterpoint to the splendor of the imperial marbles and the glamor of the stars, it was the heartbeat of the crudest reality: the protest of cinema workers who, at the gates of the Studios, claimed dignity and protection.

The contrast was powerful: while the protagonists of the season paraded among the forums and papier-mâché temples, the attention of many shifted to that “cinema factory” that risks stopping. The red carpet was not an isolated bubble, but transformed into a political and social platform. From the words of the great masters to those of the young promises, the chorus was unanimous on the red carpet: there can be no party without the recognition of those who, behind the scenes, allow the magic to exist.

The interviews collected by AGI

Francesco Sossai, the young director at the center of attention, welcomed the nominations for “The City of the Plain” with the humility of someone who knows that a film is never made by just one person. “It’s such an unexpected result that I don’t even realize it yet,” he said, surrounded by his team. But it was when he commented on President Mattarella’s words on the need to listen to new voices that his statement took on weight: “I feel the strength of my entire generation here with me. I hear the voices of directors who are turning their attention to today’s Italy”.

And today’s Italy, according to Sossai, needs cinema not as entertainment but as a mirror: “Cinema is not a hobby, it is not free time, but it is truly a very important way for the country to look in the mirror and reflect on where it is and where it is going”. A statement that sounds like a direct response to the debate on funding and to Minister Giuli’s recent admissions on past errors in the management of the sector.

Next to him, on the red carpet, Pierpaolo Capovilla, frontman of the Teatro degli Orrori and now nominated for best leading actor for “The Plain City”, he wore his keffiyeh as an explicit political symbol. “It is not simply a scarf, it is a symbol of solidarity, brotherhood and closeness towards those who suffer from armed violence in the world, in particular the Palestinian people.” A gesture that attracted attention and that Capovilla explained simply: “It protects my throat because I’m losing my voice, but above all it helps my heart and my soul to still be there.”

But it was Matilda De Angelis, candidate for “Fuori”, to give voice to the most direct anger. “I’m sad, I’m also angry. My family is dying and suffering,” she said, referring to the workers protesting outside the studios. “We actors arrive at the end of a process that begins a long time before us, but we have the spotlight pointed at us. It is essential to remember who is not here tonight: the workers, the workers who are in great suffering.”

Thought also shared by Claudio Santamaria: “We are here to give a voice to cinema workers. Defining ourselves as a ‘privileged circle’ is low and incorrect communication, as if films made themselves.” Santamaria, candidate for the film “Il Nibbio”, wanted to underline the complexity of the industry: “Cinema is made up of over 100,000 professionals who have trained through years of apprenticeship and who support as many Italian families. It is a precarious job, where there are often no protections for unemployment or maternity and there are no guarantees. Cinema receives state funding like any other industry: tonight is a party, but we must speak for those who are outside and ask to be listened to and protected by the State”. The actor then dedicated a deep thought to Nicola Caliparithe top Sismi executive who he played in the film: “He left me with an indelible feeling. I fully share his ideals, I felt them deeply and it was my key to entering the character. What he was passionate about and what he tried to protect at all costs, namely the sacredness of life, are themes that touch me in a very profound way.”

Gianni Amelio, before accepting the David for Lifetime Achievement, he took his position unambiguously: “We are in the showcase, but behind it there is the factory, there is the workshop. Without those who work behind us, we wouldn’t be here”. The maestro forcefully stated: “They’re right”, referring to the one hundred thousand cinema families who today struggle to find employment. “We must fight with reason so that the words we heard yesterday morning at the Quirinale become facts and are transformed into concrete actions”.

Also Valeria Bruni Tedeschi, doubly nominated for “Duse” and “5 seconds”, she underlined the fragility of the system: “I think we could have been there to protest too. Cinema, if there isn’t much intelligence, today could also be in danger”. And he closed with a historical reminder that leaves no room for interpretation: “There have been long periods in history in which Italian cinema was almost put under a lid by the fascist regimes or by Berlusconi, and therefore this is very dangerous.”

Among the celebrations, there are also moments of lightness and international pride. Matthew Modinestar of “Full Metal Jacket” and “Stranger Things”, paid homage to Italian cinema by announcing that he will shoot a romantic comedy in Rome with John Cleese and Liam Neeson: “Italian cinema was invented in Italy. I couldn’t think of a better place in the world to shoot it than here in Rome, the most beautiful city in the world”. Ornella Muti, receiving the David Speciale after a year of waiting for health reasons, he commented calmly: “It is the most important Italian award. Every step in life is important, unless you fall”.