A new year is beginning, and the activities of the Collettivo Chiaroscuro are being planned.
By founding a new association of cinematographers, we have taken on a great responsibility: we stated clearly that the historic association that represented us was unfortunately inadequate, and, with a touch of recklessness but a great deal of enthusiasm, we also told ourselves that we would be the ones to fill that void.
Two years on, we can say that an important part of the journey has been completed, and above all we believe that our community has recognised itself in the initiatives of the Collettivo. We have objectively become a reality that must be engaged with in the Italian cinema landscape: thanks to the annual event, the website and its rich editorial activity, the podcasts, and our social media work. We have done a lot, but it is not enough. I know it, we know it — it is never enough…
We have a series of open issues to address, and activities that have been conceived but never realised to finally set in motion.
We need to make the dialogue and communication among us members more continuous and lively, broadening the circle beyond the consolidated core of that small group of active colleagues. For this reason, Maxime Alexandre conceived — and the Board approved — the Tutti a Bordo project: the establishment of a system of direct communication between members and the Board, in order to keep the dialogue active among everyone and to give Board members the opportunity to understand the needs, wishes and concerns of all.
We need to find a shared position on the issue of the dual role (director of photography and camera operator), which is not предусмотрed in the current labour contract that expired some twenty years ago, but which nonetheless needs to be considered in a possible — and desirable — new contract. But how? With what guarantees for respect of the director of photography’s professionalism and creative freedom, and of course also that of camera operators? We have devoted a forum to this topic, which has gathered many interesting opinions. This issue, together with the future prospects of the Collettivo, will be the focus of the next General Assembly, which we will convene around mid-January. Having a shared position will be essential in order to open a constructive dialogue with AITR, the association of camera department technicians (operators, assistants, DITs, video assist), with the aim of developing a single, shared proposal for the definition of roles to be included in the renewal of the contract.
For some time now, we have been thinking about organising film screenings — debut features, or works of notable visual interest that have been little seen or never distributed — followed by Q&A sessions with directors, cinematographers and artistic collaborators. We are currently trying to find a cinema venue that can guarantee excellent image and sound quality and is willing to host us, with the aim of launching this project initially in Rome. However, given the vitality of the group of colleagues in the north, we hope to extend this experience there as well.
And then there is the tireless ongoing work of the website’s editorial team, as well as our social media and podcast activity.
The coordination effort with the Siamo ai Titoli di coda movement, of which we are an active part, also continues, with the aim of devising new yet effective forms of protest against the current government’s cultural policies and cuts to incentives for Italian film production.
We would like to make operational a platform that allows cinemas to be rated, compiled by members through their reports, with the aim of encouraging quality control of screenings in our cities, opening a dialogue and collaboration with theatre managers, and involving the Sound Technicians’ association.
Finally, we are collaborating with EDI, a leading digital effects company, on the organisation of a conference to be held in the near future on the current state of the use of Artificial Intelligence in the creation of visual sequences.
And meetings with our sponsors are also ongoing, to explore the possibility of producing our annual event in 2026.
Beyond the considerable amount of time required to make all of this happen, it is clear that financial resources are also needed — resources that our membership fees cannot cover, even though they represent the foundation that allows the Collettivo to exist at all.
We have decided to keep the annual membership fee unchanged, even though our needs have undeniably grown, because we are fully aware that the current situation in film production is difficult — very difficult — and that it affects all of our work. For this reason, we have also decided to establish a solidarity fund to support members who, given the present difficulties, may be unable to pay the annual fee. Because we do not want anyone who wishes to be part of the Collettivo and to collaborate in our activities to be forced to interrupt their participation or to feel excluded due to a temporary and entirely understandable moment of hardship. (Who among us hasn’t gone through difficult times?)
We therefore invite members who feel able to contribute a higher fee to do so in whatever amount they consider appropriate or possible. These funds will go towards a pool that will allow members experiencing temporary difficulties to continue being part of our community.
In light of this decision, we would like to encourage everyone not to distance themselves from the Collettivo during difficult moments, but rather to use any periods of professional downtime to take a more active part in our activities, by proposing and committing to initiatives that will enrich the life of the Collettivo. We need to rotate essential operational roles. Anyone who feels available can let us know straight away, and there is no doubt that we will find a way to involve them immediately, starting with the organisation of the next General Assembly.
Today we need all the energy we can muster; we need ideas and criticism, dialogue and even heated debate, lively discussion on every issue, so that we can capitalise on the many ideas of a community of creatives who occupy such an important place in contemporary Italian cinema.
I hope — and I wish all of you — that the new year will be fruitful for everyone. We will have to stand united in the face of every difficulty, with the aim of creating cinematic works that can provoke reflection, move us, make us laugh and make us cry. A cinema that, in the finest tradition of Italian cinema, helps to challenge prejudice, denounce injustice, and tell — with depth — the many fascinating and contradictory aspects of human nature.
Paolo Carnera CCS
