The 2025 edition of Cortinametraggio, a prestigious Italian short film festival celebrating its 20th anniversary, showcased a vibrant collection of 21 films and drew an enthusiastic crowd. Among its attendees was acclaimed director Giovanni Veronesi, who not only shared insights into his illustrious career but also served on the jury for the Premio Aermec Miglior Commedia.
Veronesi, renowned for his work as a screenwriter and director of films like Che ne sarà di noi and the Manuale d’amore trilogy, reflected on his experiences in the industry, particularly his collaborations with notable producers. He recounted anecdotes that illustrated the straightforward and extravagant approach of Vittorio Cecchi Gori, a producer he admired. "Ah, Cecchi Gori! He was an incredible character – a very basic producer, straightforward and unpretentious. If he said it was sunny, it genuinely was, with no interpretations,” Veronesi recalled, reminiscing about Gori’s penchant for luxury, especially boats and champagne.
One vivid memory Veronesi shared involved an incident during the Cannes Film Festival, where Gori injured his foot but brushed it off humorously, reflecting his robust nature. "He remained indifferent even when his foot swelled up as big as Shrek's! I remember his wife, Rita, looking at him and saying, 'You look like a huge fetus!'”
What stands out in Veronesi's recollections is the pressure he faced when pitching film ideas to Gori in front of his mother, Valeria, whose reaction could determine whether the project would go ahead. The stakes were high; if Valeria laughed, the film would be greenlit. "It was an immense pressure! He respected and feared her at the same time. She was a strong and independent woman, unafraid to voice her thoughts,” he explained.
As technology and the film industry evolve, Veronesi expressed concerns about the diminishing personal touch offered by traditional producers in the face of streaming platforms. "Today, with the platforms, the human relationship is lacking. Instead of a point of contact, there’s an algorithm determining what works, which is humiliating, ignoring creativity and artistry. I much prefer working with 'human' producers, like those at Fandango or Indiana, where genuine dialogue exists,” he emphasized.
Veronesi described his film Silenzio si nasce, centered on a whimsical plot involving two fetuses who opt not to be born, as an absurd yet creatively fulfilling project, despite its commercial failure. He ruefully acknowledged that such unconventional films might struggle to find a producer in today’s market.
In a memorable exchange, he recounted an experience with Robert De Niro, who humorously disclosed that he gained 26 kg for his role in Toro Scatenato out of competitive spirit with Al Pacino. "It was a remarkable moment. De Niro highlighted how acting often resides in simple, everyday actions—an invaluable lesson for every actor and director,” Veronesi said.
An integral part of Veronesi’s focus was emphasizing the importance of casting the right actors. He noted that a poor casting choice could derail an entire film, no matter the efforts made to rectify the mistake. "A good actor is malleable; they can be guided to reach their fullest potential. Choosing the wrong actor can irreparably affect a scene. Once cast, especially for minor roles, it’s difficult to change. The error is etched in the film forever,” he cautioned.
Cortinametraggio not only serves as a platform for established filmmakers but also as a launchpad for young talent. Veronesi encouraged aspiring filmmakers to seize the opportunity. "Today, with digital technologies, anyone can create a short film and participate in festivals. It’s crucial to believe in your vision. Just like how you would for a Disney film where a mouse talks—if you don’t believe it, it won’t work!”
One of Veronesi’s creative inspirations sprung from a dream featuring actress Monica Bellucci, which he subsequently transformed into a scene for Manuale d’Amore. "I told Monica about the dream, and she agreed we had to put it in a film. However, I wasn’t the one shooting it; Riccardo Scamarcio took over!”
As the festival progressed, excitement swirled around the winners. The jury awarded the Cortinametraggio Prize to Emanuele Vicorito’s A Domani, a poignant film exploring themes of regret and second chances through the eyes of Arturo, a young inmate at the Nisida juvenile facility. It depicts his emotional connection with a tourist, a relationship fraught with the barriers of his reality. The jury praised the film for its simplicity and depth, adeptly weaving complex themes into a touching narrative.
In addition to the best film award, A Domani also garnered attention from the Young Jury, further highlighting its impact. Winning the Aermec Miglior Commedia was La Buona Condotta by Francesco Gheghi, another film celebrating the creativity of Italian cinema.
Other notable film mentions included Giulia Grandinetti’s Majonezë for Best Director and Matteo Cirillo’s Pinocchio Reborn, which received special recognition.
The festival brought together a community thrilled to celebrate cinematic achievements and reflect on the artistic journey that short films offer. As Veronesi said, the allure of cinema lies not just in watching films but understanding the stories behind them and the filmmakers’ relentless pursuit of expression. "It’s a wild ride filled with ups and downs, but ultimately, it’s about conveying the raw truths of our humanity," he concluded.
