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| Sindacato Nazionale Critici Cinematografici Italiani | |
|---|---|
| Name | Sindacato Nazionale Critici Cinematografici Italiani |
| Native name | Sindacato Nazionale Critici Cinematografici Italiani |
| Formation | 19XX |
| Headquarters | Roma, Milano |
| Region served | Italia |
| Language | Italiano |
| Leader title | Presidente |
Sindacato Nazionale Critici Cinematografici Italiani is an Italian association of film critics that operates across Roma, Milano, Torino, Napoli and other Italian cities, interacting with institutions such as the Museo Nazionale del Cinema, the Biennale di Venezia, the Festival del Cinema di Roma and the Centro Sperimentale di Cinematografia. Founded in the 20th century, the organisation engages with filmmakers, distributors and cultural bodies including the Istituto Luce, the RAI, the Accademia del Cinema Italiano and the Ministero dei beni e delle attività culturali e del turismo. Its activities intersect with international festivals such as the Festival di Cannes, the Mostra Internazionale d'Arte Cinematografica, the Berlin International Film Festival, the Locarno Film Festival and the Sundance Film Festival.
The group traces origins to early 20th-century critical circles around publications like Il Mondo, L'Unità, Corriere della Sera, La Stampa and Il Giornale d'Italia, with links to critics associated with figures such as Cesare Zavattini, Michelangelo Antonioni, Federico Fellini, Luchino Visconti and Roberto Rossellini. During the postwar period the organisation engaged with debates at institutions including the Cineteca di Bologna, the Cineteca Nazionale and the Palazzo delle Esposizioni, and intersected with movements represented by Neorealismo italiano, the Nouvelle Vague, the New Hollywood and the Dogma 95 manifesto. In later decades it addressed controversies involving the Cannes Film Festival selection processes, the Academy Awards nominations, and national policies connected to the Legge Bacchelli cultural provisions and the Fondo per lo sviluppo e la coesione.
The association is typically governed by a board with roles such as Presidente, Vicepresidente and Segretario, modeled on structures found at organisations like the European Film Academy and the International Federation of Film Critics. Its secretariat operates from offices near institutions such as the Università La Sapienza, the Università degli Studi di Milano, the Università degli Studi di Torino and the Scuola Nazionale di Cinema. Committees coordinate relations with festivals including the Mostra di Venezia, the Festival di Cannes, the Berlin International Film Festival and the Toronto International Film Festival, and liaise with industry bodies like the ANICA, the FICE and the SNGCI.
The organisation organises screenings, juries and critics’ awards often presented at venues such as the Teatro alla Scala, the Palazzo Barberini and the Cineteca di Milano. It awards prizes that parallel accolades like the Nastro d'Argento, the David di Donatello, the Golden Globe, the BAFTA and the César Awards, and participates in juries at festivals such as the Venice Film Festival, the Cannes Film Festival and the Berlin International Film Festival. Activities encompass retrospectives dedicated to directors such as Pier Paolo Pasolini, Giuseppe Tornatore, Bernardo Bertolucci, Nanni Moretti and international figures like Ingmar Bergman, Akira Kurosawa, Alfred Hitchcock and Orson Welles. The association also organises panels with participation from producers linked to Cecchi Gori and distributors such as 01 Distribution.
Membership draws critics from publications and outlets including La Repubblica, Il Fatto Quotidiano, Il Manifesto, Il Sole 24 Ore, Vanity Fair Italia and broadcasters like RAI Cinema and private networks connected to Mediaset. Members often have professional histories with institutions such as the Accademia Nazionale d'Arte Drammatica Silvio D'Amico, the Centro Sperimentale di Cinematografia and the Istituto Italiano di Cultura. Admission criteria reference codes similar to those used by the International Federation of Film Critics (FIPRESCI) and require experience in outlets comparable to The New York Times, The Guardian, Le Monde and Der Spiegel. Notable members have included critics who wrote on auteurs like Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Roberto Benigni and Paolo Sorrentino.
The organisation produces yearbooks, catalogues and bulletins akin to publications from the British Film Institute, the Cahiers du Cinéma and the Sight & Sound magazine, and collaborates with publishers such as Einaudi, Mondadori and Feltrinelli. It curates rassegne at venues including the Cineteca di Bologna, the Istituto Italiano di Cultura di Londra, the Cineteca Nacional (Mexico), collaborating with archives like the Cinémathèque Française and the Deutsche Kinemathek. Programmes often spotlight films by Vittorio De Sica, Roberto Rossellini, Marco Bellocchio, Gillo Pontecorvo and contemporary directors such as Paolo Sorrentino, Matteo Garrone and Alice Rohrwacher.
The association maintains formal and informal relations with bodies including the Ministero dei beni e delle attività culturali e del turismo, the Istituto Luce Cinecittà, the Accademia del Cinema Italiano, the European Film Academy and the Fédération Internationale des Associations de Producteurs de Films. It partners with festivals such as the Venice Film Festival, the Cannes Film Festival, the Berlin International Film Festival, the Locarno Film Festival and the Rotterdam International Film Festival, and with broadcasters like RAI, Mediaset and Sky Italia. Collaborative projects have included archival restorations with the Cineteca di Bologna, scholarly conferences with universities like Università Cattolica del Sacro Cuore and international exchanges involving the British Film Institute and the Cinémathèque Française.
Category:Film organizations in Italy Category:Italian film critics