We leave behind us a complex 2023 and 2024 that exemplify the structural characteristics of our work: unexpected waves of enthusiasm, intense activity, the awareness of being part of a globally recognised cinema, and then, suddenly, the plunge into a void, the production block, the silence of new proposals.
I believe that my colleagues, those more experienced like myself, will agree that our profession has always been marked by periods of intense activity followed by long and, at times, extremely difficult stasis.
Each of us works not only to make a living and support our families but also, and above all, because of passion. Through the creation of images, we also find fulfilment, and in those images, we see ourselves reflected. We narrate the world, men and women, emotions and struggles, the joys of life, social injustices, and the darker sides of the human soul through our eyes, drawing on the ideas and opportunities offered by the directors with whom we collaborate.
The moments—or sometimes months—of inactivity and waiting can be incredibly tough, but they can also serve as periods for reflection and study, research, exchanging ideas, engaging in dialogue, and sharing past experiences. I believe that understanding life and its inherent difficulties, overcoming those challenges, and turning them into a source of strength not only helps us approach everyday hardships with greater serenity and wisdom but also enables us to tell our stories with the necessary depth, a grounded knowledge of reality, and the indispensable lightness of narration.
The Collective can also play a supportive and collaborative role during challenging times, filling periods of professional stasis with potential activities and shared research. It can help overcome the difficulties of our profession more quickly by exponentially expanding networks, information, and opportunities. By breaking down solitude and fostering solidarity, we will become much more than just a professional association—we will become a community of professionals, competitive in our pursuit of the highest quality in our work but also humanly supportive of one another.
We’ve only just begun, and there is still so much to do, especially in this regard.
Each of us possesses a wealth of information to share, which can enrich not only the technical and creative expertise of all members but also the professional networks of everyone, particularly the younger ones.
The Chiaroscuro Collective must be—and in many ways already is—a place where those with questions feel free to ask them and where everyone is ready to provide valuable answers and information.
The year 2025 must be one dedicated to defending rights. As we renegotiate our work contracts, we must focus on protecting everyone, aiming first and foremost to secure a recognised minimum wage worthy of our work and comparable to European standards. Additionally, we must push for a work structure that remains flexible yet adheres to clear rules and offers humane working hours.
I conclude this New Year’s letter by reminding myself and all of us that the most beautiful cinema in the world is not necessarily the wealthiest. On the contrary, as the history of our cinema shows, masterpieces often emerge during the most challenging times.
Let us commit to making 2025 a year filled with films that inspire reflection and emotion in audiences both in Italy and worldwide. Perhaps among them, a masterpiece will be born—and I hope it will bear the signature of one of us.
Happy New Year to all!
P.C.
