In 2022, the total revenues of the Italian audiovisual market - television, cinema, 'physical' video (DVD and Blu-ray) and online offers - are worth about 10.8 billion, thus reaching pre-pandemic values, but only thanks to the strong growth of the online component. Television remains the leading audiovisual medium with revenues in 2022 of 7.9 billion euros (73% of the total market). However, TV is destined to grow in a contained manner and its share of the total market is set to slip below 70% between 2024 and 2025. It is the photograph taken by the 5/0 Report on national audiovisual production made by Apa, the Association of audiovisual producers, with Emedia, Certa and Fondazione Symbola, presented at Mia in progress in Rome. Numbers that have compared some of the main operators, also on the criticalities of the system, such as the increase in costs recorded starting from 2020 and the growing shortage of technicians and workers, a real emergency for the sector especially in anticipation of further possible market growth. "I think it is important to listen to everyone and the rules must be changed, starting with the tax credit but in general the whole system of cinema law" says the undersecretary at the Mic, Lucia Borgonzoni, in the conversation moderated by Elisabetta Stefanelli, editor-in-chief of Culture of ANSA. This "may mean downsizing, but the funds that are saved must always be kept in the system" and indeed, those for the sector "should be greater than the current ones". Returning to the data, in 2022 the revenues of paid video on demand are estimated at about 1 billion, while those of video display advertising at 1.5 billion, for a total value of the online area equal to 2.5 billion. The cinema, heavily penalized by the pandemic, recorded revenues of only 0.3 billion, in clear recovery but still far from pre-Covid values. After the decline in 2020 due to the pandemic, the cumulative revenues of the top 50 companies in the sector start to grow again, recording in 2021 a cumulative value of 1 billion 359 million which in 2022 rises to around 1 billion and 400 million. "The constant growth of the online component is now worth almost a third of that of television," observes Chiara Sbarigia, president of APA. A framework in which Rai "is central to production. A task that the public service can perform even if we have fewer resources - observes the general manager of Viale Mazzini Giampaolo Rossi -. This is why we have asked the current government to return to Rai the 110 million subtracted from the licence fee". The problem of investments for the sector "is overall - adds Gina Nieri, board member of Mediaset -. There is a need to put a lot of resources into the Italian audiovisual system (in which almost 117,000 workers are involved, ed.), which is behind other European countries". Coming to the platforms, Eleonora Andreatta, vice president for Italian content of Netflix Italy, explains that "since the company opened its offices in Italy, a more systematic construction work has been done of a slate for the future" diversifying in productions and aiming to "bring a plurality of stories as wide as possible". Italy remains a central country also for Comcast and Sky: "In the last ten years we have invested, between content, productions, purchases and rights, about 15 billion euros, of which 11 and a half billion in Italy - recalls Antonella D'Errico, Executive Vice President Programming of Sky Italia -. What has proved successful for the Italian production industry is on the one hand the quality and on the other the ability to focus on Italian issues that can be very interesting abroad". Among the new players on the market there is also Paramount+: "We started with nine local titles, of various kinds - underlines Antonella Dominici, Senior Vice President Streaming for Southern Europe, Middle East and Africa of Paramount+ and Pluto TV - to integrate our international offer" with the ambition "to entertain the entire family".
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