The nominations for the Golden Globes, the awards awarded by the Foreign Press Association that covers cinema and entertainment in the United States, were announced on Monday 9 December. This is the second most important award in the film industry, so much so that it is very likely that whoever is nominated for the Golden Globes will also get the nomination for the Oscars. For the third consecutive year, Italy is present in the sixth of the best foreign film at the Golden Globes: after It Was the Hand of God by Paolo Sorrentino and I Captain by Matteo Garrone, it is the turn of Vermiglio by Maura Delpero.

Why precisely Vermiglio

Many people regretted the fact that There’s Still Tomorrow by Paola Cortellesi was unable to participate either this year or last year due to procedural issues. All the films chosen over the years have passed through Cannes and Venice, the two major film festivals, while Cortellesi’s film was presented at the Rome Film Festival, a choice that penalized him in the race for international awards. Venice and Cannes, in fact, are not only real institutions but also a market where productions and distributions negotiate the purchase of films for the foreign market; furthermore, at these festivals the films also have the opportunity to be reviewed by the specialized international press, the most important test to understand whether a film can be appreciated (and therefore sold) abroad. And this was precisely the reason why Vermiglio was preferred to Parthenope to represent Italy in the awards season: the reception given by the foreign press to Sorrentino’s film at Cannes was very lukewarm, while the critics appreciated it Maura Delpero’s film was unanimous and in fact, unlike Sorrentino’s, it obtained an important recognition such as the grand jury prize in Venice, the second in importance after the Golden Lion.

Vermiglio: the film that recalls There’s Still Tomorrow by Paola Cortellesi

In fact, it is no mystery that the international public is increasingly interested in stories that tell the story of the female universe or that talk about under-represented minorities. Just think of the success of Emilia Pérez by Jacques Audiard, awarded at the recent European Film Awards and which won nominations at the Golden Globes. Audiard’s film, awarded at Cannes, tells the story of a trans drug trafficker played by the excellent Karla Sofìa Gascòn, who could be the first transgender woman to be nominated for best actress at the next Oscars. Another film that surprisingly received many nominations was The Substance. Horror films usually don’t get recognition during awards season, but Coralie Fargeat’s film (nominated for best director) also won over critics for the way it dealt with the theme of our obsession with youth and performativity .

The cuts to culture wanted by Minister Sangiuliano

The result obtained by Vermiglio is important but not obvious, as Delpero herself said on the eve of the Golden Globes nominations. In an interview with Corriere della Sera, the director explained that the Ministry of Culture has cut funding for the promotion of Italian films at the Oscars: “I feel like David against Goliath. The promotional campaign has started. We work within great limits. It takes a lot of money and our budget is small. We are looking for supports, in addition to Rai Cinema and Cinecittà”. The cut was wanted by the then minister Gennaro Sangiuliano and was one of his last decisions before leaving office following the scandal in which he was involved.

His last public appearance as minister of culture was at the Venice Film Festival, a few days before the presentation of Vermiglio. During his acceptance speech in Venice, Delpero had denounced the unfairness of the new cinema law which, according to the director, would end up penalizing films like his. Her recent statements would seem to confirm the fears of the professionals that the director had given voice to. “The funds for the Oscars are important – said Delpero in the interview with Corriere – especially when you are dealing with monsters who invest millions of dollars. Being able to count on a significant budget makes the difference, it gives the possibility of a greater number of screenings. Those done went well, everyone is very happy and our international distributors express cautious optimism”.

In the piece that accompanies the interview, we read that Rai Cinema has partially corrected Delpero’s statements by speaking of “a bureaucratic delay” with respect to the disbursement of Ministry funds. If this were the case, it would still be an unforgivable mistake given that the campaign for the international awards has already been in full swing for several months. Even just to get the nomination it is necessary to organize interviews, presentations and screenings in the United States. This is an important effort that involves not only the people who participated in the making of the film, but also the press offices and the people in charge of public relations. An enormous effort that deserves adequate funding given the importance of Italian cinema abroad. Yet, as Delpero recalled, it seems that the Meloni government sees this sector as smoke and mirrors. There is little nationalist in this attitude which penalizes one of Italy’s most important calling cards abroad, namely cinema. Luckily the quality of our films like those made by Delpero and Cortellesi – coincidentally two women – manages to establish itself despite the “delays” of the Ministry of Culture.