David di Donatello 2025, edition number 70. Round figure, an opportunity to “party” will keep us to underline from twenty to twenty -five times Elena Sofia Ricci and Mika, conductors launched in a chopper who, will be discovered in the first three minutes, will never know what part. It is not (only) fault. An evening like that of the David has always lived a sort of conscious intrinsic sabotage. On Rai 1 the live broadcast on Wednesday 7 May begins at 10 pm – there is a middle of the expectation of the first smoke of the Conclave – and will end up agonizing at 1.45.

The history of Italian cinema Ricci and the multifaceted Menstrello Mika try us anyway. Tender couple who, in the gaze and spastic movements, however, already brings the omen of the imminent programmed collapse of an event that has the tailor -cut dress of the great occasions – we are in the legendary Teatro 5 of Cinecittà, the most loved by Fellini – but the forced and caciarona soul of the Wanting Want. In short: the corporate party that crosses the rhetoric of “we are a family”.

Because the David di Donatello are, before an opportunity for recognition of the artistic value, first of all a moment of celebration of industry towards itself. Between a commercial of Cinecittà and a government brands on the sacred and good work of the Ministry of Culture, the onanisms of circumstances, greased by attempts to foolish and indulgence on how beautiful and good are inanisms of smiles and friends.

An industry that is not what it seems

Nothing more than a macabre attempt to ignore what is swept into the shadow cone behind the limelight. On the same afternoon of May 7, always in Cinecittà and a few steps from where the Red Carpet would be held, in fact, the collective sit-in is held, we are to the credits, an independent committee of workers and workers in the cinema and audiovisual sector who asked not to ignore the true state of health of Italian cinema, blocked by the freezing of public funding.

Collective that had also sent a letter signed by two thousand signatures to the President of the Republic Sergio Mattarella, on the occasion of the usual invitation to the Quirinale of the candidates for the David. Ceremony in which Geppi Cucciari (here is a real presenter), with her usual frank verve, the Minister of Culture Alessandro Giuli takes the nose, who in turn does not miss an opportunity to glissce on the paralysis of the real industry, afflicted by a block of investments that today is leaving about about 70% of workers at home. Don’t worry, everything is fine.

Lift the truth

Then between wrong comic and technicians, an unsustainable rhythm and the flight of cameras on enchanted heads and leather faces, the widespread feeling of Italian pecoreccio grows. Or perhaps it would be better to say he is in absentment in the UNCANNY VALLEY of a Crging from which you never go back. Able to spoil in a culmination of amateurism even the glamorous capital of the Timothée Chalamet – Kylie Jenner couple, present in the room at their first official release together and who gives the first crack on the stuck face of the evening. “I do not see Luca Guadagnino here in the audience” says Chalamet in withdrawing his special David, a perfect synthesis of the state of internal dissonance to an industry that cannot recognize and pamper his contemporary masters (queer, released in Italian theaters last April, in any case was not eligible; he will be in case in the next year).

To tear the veil of general hypocrisy on the internal responsibilities of the system, it must be awaited that Pupi Avati, born in 1938, to which the David is assigned to his career, will be jumping on stage. “The Cinema Revolution initiative is pretty, but we need something more” says the Bolognese director by pricking Lucia Borgonzoni, undersecretary to the culture sitting in the front row. “The David evening is organized very well, but it does not resemble Italian cinema. Here there is opulence, while in Italian cinema there are societies, especially the smallest ones, who are making enormous effort”. Then he closes: “The most beautiful thing that could happen is that Schlein telephones Meloni: Giorgia, they are Elly. We couldn’t see half an hour with Giorgetti and talk a moment of Italian cinema for a moment?”

A rhymes in which Elio Germano is married, notoriously at the forefront of political and category battles. Winner of David Di Donatello to the best leading actor for Berlinguer – Andrea Segre’s great ambition, the actor challenges the other huge elephant in the room. “We wanted to tell so much of our country” Germano begins, to his sixth statuette. “A story that is unknown of all the people, men and women, who have obtained democratic conquests by fighting with their bodies, faces, without being afraid of anything and nobody. We owe him so much because our democracy comes from the battles of the worker, student, feminist movement”. And he concludes: “All people must be worthy in the same way. A poor person must have the same dignity as a rich person, a black the same dignity as a white one, a woman the same dignity as a man, an Italian of a foreigner. And allow me to say: a Palestinian the same dignity as an Israeli”.

The triumph of female films

And the winners? To report the seven statuettes, the most important, to the beautiful vermilion of Maura Delpero, the candidate of Italy at the last Oscar prizes. Including the best film – announced at 1.30 in the morning, after having reserved a handful of unworthy seconds in Sean Baker, awarded for anrao – but also the best screenplay and above all the best direction, for which Delpero is the first women’s director who triumphs in seventy years of existence of the prize.

Author who comes from the “cinema of reality”, the documentary, who exponents candidates for David, recalls Delpero, until a few years ago they were not even invited to participate in the evening. Category that yesterday saw Francesca Mannocchi’s lyrical triumph triumph, who dedicates the prize “to the 20 thousand children of the Gaza Strip and all those who continue to die while we are here celebrating”.

Best debut for the direction in Margherita Vicar for Gloria!, Which joins the choir of lucid and punctual interventions: “The hope is that our political representatives can invest billions in art, culture and education, and a little less in weapons”. Three statuettes then for the art of joy of Valeria Golino, with the best non -original screenplay, best asset actress to Valeria Bruni Tedeschi and best actress in Tecla Insolia. A series? A movie? Both things? Certainly testimony of a still unsolved enforceful conception of a medium (cinema) compared to another (TV series). On the other hand, Paolo Sorrentino (not present) remains dry with a dry mouth.

Finally, four technical prizes to Le Deluge by Gianluca Jodice, whose winners are pleased to note no longer relegated to other studies with ghettizers as it happened last year, with David’s first time even at the best casting (still vermilion). The evening closes how it started, in the name of Bisesian braking, recording 1,451,000 spectators and 13% of share that deflated the aristocratic claims of an event that must seriously deal with what you see when you look in the mirror.

David di Donatello 2025: all winners