Arthouse cinemas represent 15% of the Italian market share. For Domenico Dinoia, president of FICE, which organised the 17^th edition of Incontri del Cinema d’Essai (Arthouse Cinema Meetings) in Mantua, films like A Ciambra [+lee también:
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entrevista: Jonas Carpignano
ficha de la película] by Jonas Carpignano, Pure Hearts [+lee también:
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entrevista: Roberto De Paolis
ficha de la película] by Roberto De Paolis and After the Storm by Hirokazu Koreeda have achieved over 80% of their results making quality films. It's a sign that arthouse cinemas are still fundamental to this type of cinematography, which, after being passed on to festivals, is distributed by small companies but doesn't always get the visibility it deserves. During a very difficult time for the film market in general, arthouse films have achieved 8.4 million admissions between January and October this year alone, with Italian films making up 51% of that total. For Dinoia, however, a year after the adoption of the new cinema law, the decrees concerning arthouse cinemas have not yet come into force and the desired progress to be made by the new law is not apparent. 

President of ANEC - Associazione Nazionale Esercenti Cinema, Luigi Cuciniello, identified two needs: that of a return to increasing the market share of Italian cinema, and the need for a solution to the problem of a lack of titles during the summer months, which make up only 10% of revenue per annum. For Andrea Occhipinti, president of ANICA distributors, the cinema screen market has become more selective, there are a lot more films but no more space to show them, and therefore productions must be more attractive as a consequence. Over the next two years the effects of the new cinema law will become apparent. There should be a jump in quality thanks to the funds available and the tools offered, modernising cinemas and production, but if not, Italy will remain out of the market.