Rome – 10 June 2025 . Collettivo Chiaroscuro On Saturday 7 June 2025, Collettivo Chiaroscuro hosted the latest edition of The Art of Italian Cinematography and Beyond – a full day of meetings, reflections and discussions held at Teatro 10 of the “De Paolis” television studios, with a focus on the technical and artistic excellence of cinematographers. This second edition reaffirmed the Collective’s concrete commitment to establishing a stable platform for open and democratic exchange, promoting dialogue with other film industry professionals, and identifying the most urgent challenges currently facing the sector.
The event stood out for the large and engaged attendance at the many panels throughout the day, introduced by presenter, actress and radio writer Martina Martorano and attended by numerous national and international guests who enriched the programme by sharing their personal perspectives.
The panel “Equal Exposure: Let’s start from differences to work on rights: parenting, career progression and inclusion”, moderated by journalist Antonio Bracco, featured an open conversation with Marco Bassano (CCS), Paolo Carnera (President of CCS), Irene Castrogiovanni (steadicam operator), Camilla Cattabriga (CCS), Eleonora Contessi (CCS), Daria D’Antonio (Vicepresident CCS), Maita De Leonardis (steadicam operator), Giuditta Paolini (camera assistant), Sara Purgatorio (CCS), Francesca Zonars (CCS). In sharing the diversity of personal and professional paths, the conversation revealed ongoing issues around access and career progression caused by the gender gap that still exists within the Italian cinematography sector. The discussion highlighted the need to address maternity protection on set more clearly, along with the urgency to develop new contractual policies that uphold the right to parenthood, a fairer distribution of working hours, and attention to basic human needs.
In the masterclass “Don’t close the curtains: have a backdrop!” Alessandro Pesci (CCS) explained the importance of the backdrop in cinema, offering a concise historical overview of how this technique has evolved over time. Sarah Horton (Rosco Backdrops Creative Specialist) then presented the meticulous work involved in creating backdrops for contemporary cinema, examining the technical challenges and praising the versatility of a highly efficient cost-benefit solution. Mauro Pescetelli (Gaffer) and Giuseppe Riccobene (CCS) then invited the audience to explore a practical backdrop installation set up inside Teatro 10.
The panel “The relationship between director and cinematographer” featured a conversation between Daria D’Antonio (Vice President of CCS) and Oscar-winning director Paolo Sorrentino (Parthenope, The Hand of God, The Great Beauty).). Moderated by journalist Malcolm Pagani, the two shared anecdotes and memories of a professional and personal relationship spanning many years, built on an immediate and instinctive on-set rapport that consistently turns even the smallest unexpected event into a source of creative inspiration.
The roundtable “Episodic versus Features: developing stories across formats” Paolo Carnera (President of CCS) conversed with director Francesca Comencini ((The Time It Takes, Stories of Love That Cannot Belong to This World), and director Michele Alhaique (A.C.A.B – The Series, Romulus, Bang Bang Baby), the cinematographer Vittorio Omodei Zorini (A.C.A.B. – The Series, Those About to Die, The Good Mothers), Fabrizio Lucci (CCS) and Alessandro Pesci (CCS). The session was moderated by Massimo Intoppa (CCS), who led participants in a discussion on the evolving creative relationship between original films and their serial adaptations, focusing in particular on A.C.A.B. and Gomorrah.. The debate reflected on how the gap between the two formats – in terms of quality and perception – has significantly narrowed, thanks in part to the rise of streaming platforms. At the same time, the conversation raised concerns over the sheer volume of content now produced, which risks diluting audience attention and diminishing the cultural value of artistic works.
The panel “AI for Filmmakers – The new eratackled one of the most pressing contemporary topics. Alessandro Chiodo (Head of CCS AI study group LUM_IA) moderated a discussion featuring director Carlo Lavagna ((Shadows, Arianna), VFX Supervisor Max Cipollina (Chromatica), Valentina Casale (Chromatica), the colorist Jean Paul Snider (M74), the VFX supervisor Stefano Leoni (EDI). The session offered fresh perspectives on how generative AI can be understood today within cinematography workflows. In such a rapidly evolving field, it is essential to maintain upstream control over the creative process when adopting this tool – a tool full of potential, but also one that can generate misplaced fascination when framed purely in terms of cost reduction.
The day concluded with the Q&A session “Focus on International Productions: Ula Pontikos BSC & David McFarland meet CCS”, moderated by Luca Ciuti (Vice President of CCS), featuring Emmy-nominated cinematographer Ula Pontikos (BSC – Russian Doll, Weekend) and cinematographer David McFarland (12 Mighty Orphans, Mafak).). Reflecting on their international careers, Pontikos and McFarland stressed the importance of keeping an open mindset, engaging the whole crew in the technical preparation process, and allowing artistic vision to be fully guided by the narrative, regardless of the production budget.
A dedicated space between panels was given to Stefano Paradiso (CCS), who follows the inter-association task force and all union and contract renewal meetings, alongside Dario Indelicato– founder and representative of Siamo ai titoli di coda, a grassroots movement of film workers protesting the economic standstill affecting the Italian film industry. Indelicato shared his reflections on the meeting held on 6 June with Minister of Culture Alessandro Giuli at Cinema Quattro Fontane in Rome, where he noted a step forward in establishing a new line of dialogue between parties and overcoming ideological disputes. However, Indelicato stressed that many issues remain unresolved and that it is still urgent to address them head-on – starting with the creation of a welfare system capable of supporting professionals in times of crisis.
The second edition of The Art of Italian Cinematography and Beyond successfully reaffirmed Collettivo Chiaroscuro’s commitment to building a concrete platform for cultural dialogue – a participatory space that weaves together artistic initiative, in-depth technical training, and thoughtful professional exchange.
Collettivo Chiaroscuro
Collettivo Chiaroscuro is a cultural association founded by cinematographers who distinguish themselves within the Italian and international film scene. Established in 2024, it was born from the desire to create a place where members feel represented, a space for meeting and discussing their work, exchanging ideas, and offering mutual support. Its aims include encouraging professional reflection and development, as well as promoting and defending the artistic and technical quality of its members’ work through networking and outreach activities.
The Art of Italian Cinematography and Beyond is made possible thanks to the support of Collettivo Chiaroscuro’s partners and sponsors: ADCOM, ANGENIEUX, ARRI, ARTDIGILAND, ASC (Italian Association of Set Designers), BLACKANDLIGHT, CANON ITALIA, CARTONI, CONNECTA, D-VISION MOVIE PEOPLE, DZO-OPTICS, EVOL SOUND, FILLEX / MOLPASS, FLAT PARIOLI, FOTO DIEGO, FOWA / NITAL, GODOX, KIWI, LEITZ CINE, M74, MISSION DIGITAL, PANALIGHT, REC, RED, REEL-ONE, ROSCO, SAMAS, SONY, STUDIOS DE PAOLIS, TAV, TUTTO DIGITALE.
COLLETTIVO CHIAROSCURO
Via Simon Boccanegra 8, 00162 Rome, Italy
C.F. 96577640582
VAT 17540291006
Email: ccs@chiaroscurocollective.com
Website: www.collettivochiaroscuro.com
Press Office
Alessio Zuccari – +39 345 441 5760
alessiozuccari96@gmail.com
