Reg. Trib. Milano n. 418 del 02.07.2007 - Direttore responsabile: Elisabetta Brunella

International Edition No. 181 - year 16 - 10 June 2021

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Dear Readers,

Elisabetta Brunella in our previous issue we turned the spotlight onto the Italian films that had reached audiences in various European markets in 2020. In this issue we return to the subject with an interactive map: by clicking on the various countries, for each of them, the titles of the three most widely viewed Italian films will appear.

A way of satisfying one’s curiosity but also of reflecting on the fact that in a special year such as 2020 domestic and European productions have played an important role in movie theatres. Once again experience shows that “diversity” is more than just a slogan!

We hope to meet again soon, perhaps “live” in Cannes, the next, symbolic rendezvous for a “grand” return to the cinema, on the big screen!

Elisabetta Brunella
Secretary General of MEDIA Salles


(Per leggere il testo in italiano cliccare qui)


MEDIA Salles started in 2019 publishing the European Cinema Charts, cartograms and inter-active maps which make it possible to compare indicators internationally, whilst facilitating a view of the relations between different phenomena, as well as making the data more immediately readable.

The top three Italian films (including co-productions) by admissions in Europe in 2020

Click on the red buttons in the map and you will obtain the top three Italian films

© copyright MEDIA Salles

Latest update: 10 May 2021.



Women in Ukrainian cinema: challenges and victories

Anna Machukh
Executive Director of Odesa International Film Festival,
Executive Director of the Ukrainian Film Academy,
co-founder of the online resource DzygaMDB

Anna MachukhSince the beginning of the cinema, women have been at the forefront, which means making a no less significant contribution to culture than men. However, in the 1920s, when the industry began to develop actively, women were gradually moved from the director's chairs into the assembly shops. And over these hundred years, the world cinema industry has changed more than once. In Ukraine, the situation is similar to many other countries. The industry is still dominated by men, but the situation is gradually changing. A woman in the cinema was perceived as something unique for a long time. Especially if this woman was a camerawoman. Today it is not such a clamorous event, as before. Many women's names have appeared as directors, including Iryna Tsilyk, Marysia Nikitiuk, Tonia Noyabrova, Maryna Stepanska, Kateryna Gornostai, Maryna Vroda and many others. In recent years, they have filmed many high-quality and original film stories that have competed for awards at class A international film festivals. 

Various organizations and activities are helping to improve the situation towards the balance of gender equality. They aim to give women the faith in themselves that they often lack. In particular, such events are held by the Ukrainian Film Academy. One of the main driving forces behind its work is aimed to give women the possibility of succeeding in cinema and to destroy the existing stereotypes. Currently, the Film Academy has about 40% of women as its members, and the number continues to grow annually. In order to promote the idea of a woman in cinema, we conduct master classes with the involvement of producers, directors, actresses, casting directors and other industry professionals.

And digital technology, like the recent acceleration in the development of social media, has come to our aid, so that we can offer webinars, allowing us to spread our ideas throughout the world.

Odesa International Film Festival also does not avoid the gender issue, either. Discussions on this topic have been held within the framework of the Festival for several years. Two years ago, OIFF joined the HeForShe movement, and this year became a partner of the Women in Arts 2021 award ceremony, which celebrates prominent women in the cultural industry.

Such manifestations on the part of film organizations are truly helping to improve the situation at all levels of the industry. Now we are experiencing a certain revolution in society's attitude towards women and their rights. This question is repeatedly raised at different levels: at film festivals, at the film academy, in unions, at award ceremonies and, in fact, in film narratives. The world has finally realized that women are no less talented than men. Our challenge is to give them the opportunity to bring their talent to life. 


The Show goes on. A Sign of Hope for the Big Screen
by Elisabetta Galeffi

I remember a Venice Film Festival long ago. Jeremy Irons was President of the Jury: still a heartthrob when you crossed paths with him between one screening and the next.
I remember supper in a little restaurant I never managed to find again, sitting with my friends at a table, with Charlotte Rampling, always a great star on every occasion, only a short distance away.
My mind goes back to the gardens and pool of the Hôtel des Bains in the early afternoon when the September sun encouraged you to take a dip; the people, the confusion, the race to get hold of a ticket for the screening of a new film.
The hotel of “Death in Venice" has been closed for years now. They want to make it into a residence for the rich: it will be hard to go on imagining those rooms as the set of Visconti’s film.
Strolling along the beach at the Lido on a sunny morning this spring in the company of one or two early-morning joggers and a few seagulls, I can see once again the locked doors of the Palazzo del Cinema, behind the closed windows of the Excelsior, beyond the sand dunes still blocking the fury of the sea in winter.
Its rationalist architecture, a white ghost against the background of the clear air, looks like part of an abstract landscape by De Chirico. A metaphor for the cinema which has closed its doors during these long months of Covid; a question mark leading to reflection on the fate of the movie theatres after this long exile from their audiences.

But like the Venice Festival, launched in 1932 at the Hotel Excelsior, a huge, red, eastern-style building looking straight out onto the beach, it has managed to withstand the threats of war and not to stop even in the annus horribilis of Covid. I hope the big screens will continue to feed our passion for the cinema. Every day at every latitude…

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Edito da: MEDIA Salles - Reg. Trib.
Milano n. 418 dello 02/07/2007
Direttore responsabile:
Elisabetta Brunella
Coordinamento redazionale:
Silvia Mancini
Redazione: Mara Elena Nucci
Raccolta dati ed elaborazioni statistiche: Paola Bensi, Silvia Mancini