Interview

'Tens of thousands of jobs at risk in the film and audiovisual industry'

Anica president Alessandro Usai: the cut in funds and the Budget law's measures on tax credit risk blocking the sector without remedy

by Andrea Biondi

Il presidente di Anica, Alessandro Usai,

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

«Prepariamoci perché, se confermate, con queste misure in Manovra il mondo del cinema e dell’audiovisivo in Italia si avvia a crisi certa. Sono a rischio decine di migliaia di posti di lavoro». Alessandro Usai, presidente Anica, l’associazione che rappresenta le imprese della filiera cineaudiovisiva, considera l’intervento sul Tax credit alla produzione per cinema e audiovisivo – taglio di 190 milioni nel 2026 e di 240 dal 2027 per il Fondo per il cinema e l’audiovisivo e lo stop allo “splafonamento” sugli anni successivi – un colpo letale per il settore. «Con le altre associazioni stiamo ora chiedendo un incontro urgente al Governo. Partire con i tagli da gennaio 2026 farà scappare i produttori esteri e metterà in difficoltà insostenibili i produttori italiani. Una filiera industriale che è cresciuta molto e che per anni ha creato occupazione e introiti per lo Stato ora rischia il crollo».

Well, it is since 2024 that the former director of the Dg Cinema and Audiovisual Nicola Borrelli has been warning about the splaining

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The tax credit for cinema and audiovisuals is not the 110% Superbonus. Here, the State covers a maximum of 35% or 40% of the costs, with an average rate of 32%. This means that against 1.4 billion of public credit, according to the figures published by you of Il Sole 24 Ore, there are 4.3 billion of private resources invested. That missing 68%. In total, therefore, we are talking about 5.7 billion of audiovisual production tracked, taxed. It is an economic multiplier, not a non-returnable expense'.

But, without corrections, as we have written, there is a 1.4 billion imbalance.

I would like to remind you that the State recognises tax credit once the work is finished, inspections have been carried out, the costs incurred have been certified, and invoices issued and paid. There is certainly a discrepancy to be taken into account, which depends on the fact that many projects do not get off the ground, or that they cost less than what is declared in advance. However, one detail is often forgotten.

What are you referring to?

Countries such as France, Germany, Spain and England have introduced similar systems, in some cases inspired by the Italian one. Germany has publicly declared this. If our system were so harmful, would it be imitated by leading economies? And when US President Donald Trump threatens tariffs on productions not made in the US, what is he talking about? Since the tax credit, the quantity and quality of productions that have come to Italy has grown significantly. And Italian productions have avoided relocating. And all this has meant economy, work.

Of course, there are already warnings of a deep employment crisis in the sector.

There is a clarification to be made. On Friday, Anica received a reply from Cnel to a request for information from us, because a figure had been circulated from which it was inferred that employment had dropped by 90% in 2024 on the basis of the numbers of employment contracts of technicians and workers (classified as 'G121'). Well, the exact figure is 15,128 in 2024 against 18,426 in 2023. Cnel informed us that Inps had transmitted a figure that did not consider a particular category of entertainment workers. But it could not but appear immediately that the figure did not add up. So there is a -18%. Not negligible, but not the 90% that is now in danger of becoming reality.

Do you not think that the events on tax credit, such as the Kaufmann case, have had an influence?

Associations such as Anica are in favour of very strict controls. On the merits, there are complaints that have led to the work of the Public Prosecutor's Office, which will check on episodes that represent, in any case, a very small number. I would like to point out a further element.

Which one?

Every euro invested in audiovisuals generates, according to a Cdp study, 3.54 euro of overall economic spin-off. There are direct benefits, jobs, taxes and contributions paid to the State. But let's also think about cine-tourism or the international promotion of territories. In general, I remain convinced that the audiovisual sector is one of those in which Italy can remain competitive in the future. Our country is an open-air set where we have created in recent years professionalism and skills that other countries do not have. And this takes decades.

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