By Caren Davidkhanian
Italian Screens will be in Pretoria, Johannesburg, and Cape Town this month thanks to Paolo Cuculi, Italy’s ambassador to South Africa, who says that the event will contribute to strengthening the cultural ties between his country and South Africa. Here Cuculi, whose diplomatic career took off in 1992, tells The Film Verdict about what he has learned in dealing with the South African film business and how he became involved with Italian Screens in the first place.
The Film Verdict: Mr. Ambassador, thank you for taking the time to talk to us. You have greatly contributed to the organization of the Italian Screens event in South Africa. How long have you been there?
Paolo Cuculi: Last month I celebrated my fourth year as Ambassador of Italy to South Africa, with accreditation also to Lesotho, Namibia, Madagascar, and Mauritius.
TFV: Which other countries have you been stationed in during your career as a diplomat?
PC: After joining Italy’s Ministry of Foreign Affairs in 1992, I served in the Sudan (from 1994 to 1997), in Thailand (from 1997 to 2000), at the Italian Permanent Missions to the United Nations in Geneva (from 2000 to 2002, and from 2010 to 2014) and in New York (from 2006 to 2010).
TFV: What would you say are some of the impressive things that you have learned about the South African film business while working on the Italian Screens project?
PC: South Africa is an ideal destination for making movies because of its majestic natural scenery and the very high creativity of its national talents. For this reason, several international studios and streaming platforms, (including Netflix), chose to invest in South Africa and brought here the sets of well-known films and series. I also learned that in 2003 Italy and South Africa signed an agreement for the co-production of films and documentaries. The famous “Hotel Rwanda” was one of the movies co-produced in 2004. It is time to enhance such partnership.
TFV: How are Italian films received in South Africa? Is the public aware of them or do they have more of a niche appeal?
PC: My experience tells me that the South African public is highly interested in Italy’s culture, notably as far as movies are concerned. Our previous initiatives, Fare Cinema and the Italian Film Festival, which because of the constraints imposed by the COVID-19 pandemic were broadcast in South Africa through online platforms, achieved encouraging results. We are confident that Italian Screens too can further enhance this positive trend.
TFV: In your experience, what are some of the challenges that are rather specific to the South African market when it comes to promoting Italian films?
PC: I believe that introducing stories and settings outside of the major blockbuster productions is always a challenge. Italian – though with subtitles – as the main language of our movies may also initially deter those who are not familiar with subtitles. Nevertheless, I am sure that the high quality of the movies we selected – all awarded several national and international prizes – will help attract a broader audience. The presence in South Africa of a vibrant Italian community is a significant added value to making Italian culture and language better known and appreciated.
TFV: As I mentioned earlier, you have played a fundamental role in organizing Italian Screens in South Africa. Tell us more about Italian Screens, how it was initiated, and how you got involved with it.
PC: Italian Screens has been envisaged by the Italian Ministries of Foreign Affairs and Culture, through Cinecittà for the Cinema and Audiovisual Directorate General, and by the Academy of the Italian Cinema – David di Donatello Awards, to promote abroad the most original and interesting movies recently realized by talented Italian directors and film studios. It was launched in the United States in the fall of last year, and eventually moved to India, Brazil, and Thailand. I immediately seized the opportunity to bring Italian Screens to South Africa because I am convinced that it can greatly contribute to strengthening the cultural relationship between Italy and South Africa, while at the same time offering our producers, distributors, and shareholders of the movie industry an opportunity to meet, share experiences, and develop new partnerships. There is indeed a huge, untapped potential for cooperation in both countries as far as professional skills, audio-visual expertise, and available financial incentives for co-productions.
TFV: What films will be screened in South Africa during the Italian Screens event?
PC: We are proud to showcase new Italian movies that portray a wide spectrum of human stories and feelings. All different, thought-provoking, and enticing as life itself. They include Il Colibrì (The Hummingbird) by Francesca Archibugi, La Stranezza (Strangeness) by Roberto Andò, L’ombra di Caravaggio (Caravaggio’s Shadow) by Michele Placido, Siccità (Drought) by Paolo Virzì, Corro da te (I Run to you) by Riccardo Milani, and Notte fantasma (Ghost Night) by Fulvio Risuleo.
TFV: In your estimation, will future editions of Italian Screens expand to other regions of South Africa?
PC: Being able to present the first edition of Italian Screens in Pretoria, Johannesburg and Cape Town is in my view important already. I hope that the feedback will be positive, and if feasible, in the future allow us to broaden the audiences in South Africa and other countries in the region.
