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“The work carried out by the Friuli Venezia Giulia Audiovisual Fund represents an Italian 'best practice' that should be valued as much as possible”

Industry Report: Distribution, Exhibition and Streaming

Stefano Chiavarini • Producer, Piroetta

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We met the Italian producer in Trieste, after his participation in the Streamers Ecosystem lab, which took place during the industry sessions of When East Meets West

Stefano Chiavarini • Producer, Piroetta

Stefano Chiavarini, producer for Italian firm Piroetta as well as co-director of Quilty (2014) and Laika Stardust (2016), spoke to Cineuropa about his presence at the When East Meets West lab Streamers Ecosystem. He is also the head of CNA - Cinema e Audiovisivo Abruzzo, a body under the umbrella of the Italian National Confederation of Crafts and Small and Medium Enterprises. 

Cineuropa: What was the lab about? Who took part in it?
Stefano Chiavarini: The laboratory focused on the world of streaming platforms, as its name suggests. It lasted two days and featured three different speakers. Participants came from various countries and professional backgrounds, including writers and producers. One of the aspects I appreciated most was the organisers' decision to bring together individuals at an advanced stage of their careers with those just starting out or at a mid-level of experience. This approach is highly effective for workshops like this, as it allows participants to learn from one another, grow and network together.

Who were the tutors? 
The lab was led by producer and content and marketing consultant Augustina Lumi, with whom I had already collaborated last year at EAVE Puentes. One of the tutors, producer David Matamoros, was a personal favourite among all the similar labs I have attended. He has worked with some of my favourite directors, such as Thomas Vinterberg and Lars von Trier, yet he remains very humble. He has also collaborated with Netflix and presented three case studies of projects that were vastly different from one another, helping us improve our pitching skills. His delivery was clear, engaging and professional, making a strong impression on me. Finally, with Candelaria Balaguer, Head of South Cone Partners Development, we discussed trend analysis. I find this a fascinating subject because streaming platforms do not typically share their data, so experts must compile statistics by cross-referencing available information. As the streaming industry is constantly evolving, the third part of the lab focused on handling streaming-related rights through case studies with Adrienne Van Den Berg, a digital sales specialist at Cinéart.

After your experience, what is your opinion about the Trieste Film Festival and WEMW? 
WEMW is an example of excellence, and the work carried out by the Friuli Venezia Giulia Audiovisual Fund represents an Italian "best practice" that should be valued as much as possible. Ties That Bind and EAVE Puentes are also remarkable examples in this regard. Their efforts go beyond the fact that Friuli Venezia Giulia is one of the five Italian regions with a special [constitutional] status.

This is not my first time engaging with their work, and in my view, WEMW and MIA Market in Rome are the only events that can truly compete on an international level. This does not mean that smaller initiatives should be overlooked, but I believe it is important to acknowledge the difference in scale and impact. I also organise a similar event in the region I am from, called Abruzzo Film Industry, so I deeply appreciate all efforts in this direction. In 2025 we are going to host our fifth edition and I know the effort that it takes. Speaking with other participants, I have realised that they share the same opinion, and by the end of these events, everyone is consistently satisfied with the experience.

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