Following last year’s financial crisis and the resignation of its then CEO Nicola Maccanico, Cinecittà SpA is now relaunching, creating new studios and welcoming big productions. The 2025-2029 Industrial Plan, presented by the imcumbent CEO Manuela Cacciamani and approved last week by the firm’s board of directors, outlines a new solid industrial growth phase aimed at contending with the challenges of a changing market, responding to the demands of the global audiovisual sector and reinforcing the brand’s iconic status on the global stage.

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“We’re not just building new studios”, Cacciamani enthused, “we’re redefining what it means to produce films in Europe. Cinecittà has to become a machine which works at full steam, every day, with excellence as its minimal standard. We’re not only interested in taking part in the game: we want to lead it”. He adds: “We can’t shape the future of cinema if we don’t value the people who lend it form, every single day, with their hands, ideas and expertise. The human capital working in Cinecittà isn’t a resource: it’s our identity”.

Cinecittà’s core business remains the hospitality and support offered to big audiovidual productions. In short, thanks to investment from the PNRR, the strategic plan is committed to following through on the project to build 5 new studios and to totally restructure 4 hi-tech studios by June 2026, increasing their number from the current 20 to 25, which will allow for a 60% increase in production capacity. Cinecittà is investing in the enhancement of its virtual production technological offering by way of Virtual Stage – currently in operation in Theatre 18, which is one of the biggest studios for virtual shoots in Europe - and via an upgrade of its audio-video post-production hub.

This expansion will confirm Cinecittà’s status as the primary Italian venue for audiovisual production and one of the most comprehensive hubs in Europe, capable of accomodating complex and innovative productions of international significance. The plan looks to consolidate the hub’s partnership with leading global players, its collaborations with Italian executive producers and its strong synergies with industry associations to support domestic productions. And setting international tax credit at 40%, which is one of the most competitive rates in the world, is aimed at heightening the attractiveness of Cinecittà’s studios to foreign productions.

The creation of new professional roles, especially within the field of set design, has also been provided for, alongside training of staff and the introduction of internships which will help the sector contend with the evolving market by way of up-to-date skills, including proper use of Artificial Intelligence. Cinecittà will press on with the initiatives previously embarked upon as part of the ReGeneration project, which targets carbon neutrality and provides sustainability guidelines for productions.

Following a difficult season owing to the actors’ and screenwriters’ strikes in Hollywood and the fires in Los Angeles, in recent months Cinecittà has accomodated Martin Owen’s Anglo-American sci-fi thriller White Mars in the Via Tuscolana Studios, while Mel Gibson’s The Resurrection of the Christ is set to occupy the new Theatre 22 for some time. Ridley Scott has also chosen Cinecittà for his next project, The Dog Stars. The Studios will likewise accomodate production of Roma Elastica by French director Bertrand Mandico, which stars Marion Cotillard and Alba Rohrwacher and is co-produced by French firm Atelier de Production together with Italian outfits Redibis Film and Dugong Films. New Disney, Universal and Fox Nation projects are also in the pipeline but are yet to be announced. Cinecittà’s labs have similarly been used for post-production on the Robbie Williams biopic Better Man, as well as on Emilia Perez [+lee también:
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