The vital flow of Hollywood productions has returned at full strength to Rome’s Cinecittà soundstages, which has been undergoing a radical overhaul that is transforming the iconic facilities into state-of-the-art studios for the digital age. Shooting recently wrapped on the U.S. sci-fi thriller “White Mars,” toplining Luke Newton (“Bridgerton”) and Lucy Hale (“Pretty Little Liars”) and co-financed by XYZ Films and Singularity Ent. The film was shot entirely at Cinecittà’s Theater 18, which houses one of the world’s largest LED stages and has become a fundamental asset for filmmakers.
In addition to “White Mars,” pre-production is underway on Mel Gibson’s highly anticipated sequel, “The Resurrection of the Christ,” which will utilize Cinecittà’s sprawling new Studio 22 facility as its main hub this summer. Gibson had been scouting other European facilities for the sequel to his blockbuster “The Passion of the Christ,” which was filmed at Cinecittà more than 20 years ago. The director and his Icon Prods. were lured back to Rome by Cinecittà CEO Manuela Cacciamani, who, along with line producer Marco Valerio Pugini, ensured that the studio’s 38,000-sq.-ft. state-of-the-art soundstage would be ready in time for Gibson's production.
Ridley Scott also recently set up camp at Cinecittà for his upcoming project “The Dog Stars,” and major players like Disney and Universal are preparing to start shooting big projects on the studio lot. Cacciamani, who has been leading Cinecittà since July 2024, emphasizes that three main pillars bolster the activity of a studio of this size and capacity: tax incentives, operational efficiency, and the capabilities of line producers. She states, “One is tax incentives. The other is what you can offer in terms of efficiency — which means the size of the soundstages, new technology and quality of artists and craftsmen. And the third is the capability of line producers who, at the end of the day, play a crucial part in convincing a studio to make the investment.”
Italy’s 40% tax rebate for international film and TV shoots has no cap and allows producers to receive cash back during production, month to month, significantly reducing costs. Nicola Borrelli, head of the film department of Italy’s culture ministry, confirmed that the tax rebate is “fully operational.” Last year, the government hesitated about reforming the credit, which slowed down production. However, Borrelli reassured stakeholders, stating that the financing window is open and the mechanism remains unchanged, making Italy’s tax rebate among the most attractive in the world.
A few months ago, Borrelli met in Rome with Gibson’s team to personally assure them that rumors about modifications to Italy’s international incentive “are not grounded in reality.” Meanwhile, Cacciamani is pushing ahead with Cinecittà’s six-year revamp that began in April 2021, funded by a multi-million dollar loan from the European Union’s post-pandemic recovery fund. This ambitious plan includes renovating and expanding the facilities to achieve more than double their production capacity, with a total of 25 soundstages, at least three of which are among the largest in Europe.
Another vital aspect of Cinecittà’s renewal is its recently installed state-of-the-art video and audio post-production facilities, which include dubbing and mixing rooms, as well as a 35mm and 16mm film development and restoration lab. Notably, Cinecittà’s post services have recently been chosen for films not shot at the studios, such as the Robbie Williams biopic “Better Man” and Jacques Audiard’s “Emilia Pérez.” Productions that were fully filmed at Cinecittà include Roland Emmerich’s TV series “Those About to Die” and Luca Guadagnino’s “Queer.” Cacciamani takes pride in the studio’s post-production capabilities, noting that being at the forefront of this field “really helps close package deals.”
The revival of Cinecittà is not just a testament to the resilience of the film industry but also highlights the strategic importance of Rome as a hub for international productions. With the combination of financial incentives, advanced facilities, and a rich cinematic history, Cinecittà is poised to reclaim its status as a premier destination for filmmakers from around the globe. The recent influx of high-profile projects underscores the studio’s resurgence and the growing confidence in Italy’s ability to host major film productions.
As Cinecittà continues to evolve and adapt to the demands of the digital age, it stands as a symbol of the film industry’s recovery and innovation. The iconic soundstages, once synonymous with classic cinema, are now embracing cutting-edge technology and modern filmmaking practices. With directors like Mel Gibson and Ridley Scott choosing Cinecittà as their creative playground, the future looks bright for this historic studio.
In conclusion, Cinecittà’s transformation into a state-of-the-art facility reflects broader trends in the film industry, where technology and tradition intersect. As Hollywood productions flock back to Rome, the studio is not only revitalizing its own legacy but also contributing to the global cinematic landscape. This revival is a promising sign for filmmakers and audiences alike, heralding a new era of creativity and collaboration in one of the world’s most beloved film capitals.
