Chiara Sbarigia: "Italian cinema is ready to find its audience"

In 1924, in Rome, the Istituto Luce Cinecittà was born. To celebrate this important milestone, Luce Cinecittà and Archivio Luce have created "100 di questi anni", an episodic feature film with a focus on comedy. The directors involved were asked to tell a piece of Italian history using the vast archive material as a starting point, playing with the languages of the seventh art and comedy. The result is a series of fake autobiographies, small adventures, and improbable situations that tackle themes related to cinema and entertainment, fashion, beauty, food, and music. Seven short films that provide a snapshot of our society, showcasing its richness and many facets, without shying away from social critique and bringing new light to precious footage.

The Protagonists of the Film "100 di questi anni"

Among the protagonists are Michela Andreozzi, Massimiliano Bruno, Claudia Gerini, Edoardo Leo, Francesca Mazzoleni, Rocco Papaleo, and Sydney Sibilia. Alongside them, Valerio Aprea, Paolo Calabresi, Federico Maria Galante, Carlo De Ruggieri, Maria Chiara Giannetta, Francesco Leo, Paola Minaccioni, Vincenzo Nemolato, Claudia Zanella.

Archivio Luce's Centennial: An Interview with Chiara Sbarigia

We asked a few questions to Chiara Sbarigia, President of Cinecittà, about the past, the future, and some curiosities about the feature film 100 di questi anni.

How did the idea for the "100 di questi anni" project come about?

With the Luce team, composed of various skilled professionals, I thought the best way to celebrate the 100 years of the Istituto Luce was to celebrate its lesser-known side, the one that tells the story of Italy in an ironic, fun, and light-hearted way. The images from the Archivio Luce were thus lent to contemporary comedy, the perfect genre to blend historical reflection with lightness, creating an emotional connection with the audience and showing how the past can dialogue with the present.

Was it difficult to involve all the well-known faces?

No, the project excited everyone right from the start. When we shared the idea with directors and actors, there was an immediate and positive response, and they enthusiastically got involved, fully aware of the cultural and artistic importance of this project and its commemorative and creative value.

What is the final message we should take from it?

The message is multifaceted: we want to celebrate the beauty of our past and use the audiovisual memory of the Archivio Luce as a tool to understand who we were. We invite the audience to reflect on how the past can inspire or correct the present, looking forward with confidence to the future that awaits us. A future that is undoubtedly interesting and can be fun if we are capable of laughing at ourselves, in the true spirit of Italian comedy.

Do you believe there's value in sharing the archive with the public? Are you planning to do so in other ways?

The Archivio Luce is a treasure that belongs to everyone and must be shared. As President of Cinecittà, with a mandate for cultural activities and now in my second term, I will continue to work to bring these images to the widest possible audience through exhibitions, educational activities, podcasts, and documentaries. But also by blending different arts and exploring innovative techniques like artificial intelligence.

What's in Cinecittà's future?

I imagine a Cinecittà that is increasingly a place and laboratory of innovation, creativity, and inclusion. A place that can support Italian talent and promote it in global markets.

What do you think is the most distinctive trait of contemporary Italian cinema today?

I believe that Italian cinema is going through a crucial transition phase to shake off some of its laziness and regain its audience. The film industry has to deal with an impressive array of content, which – thanks to platforms – comes to us from all over the world, directly at home. Cinema is an art form that combines important aspects like delight, learning, and aesthetic experience. But it is also about reflection and collective vision. It’s no coincidence that Messner placed a row of cinema seats facing a mountain viewpoint.