{"id":15933,"date":"2018-10-10T08:24:23","date_gmt":"2018-10-10T08:24:23","guid":{"rendered":"https:\/\/cinema.video\/?p=15933"},"modified":"2026-04-10T03:41:23","modified_gmt":"2026-04-10T01:41:23","slug":"the-bel-paese-from-russia-with-love","status":"publish","type":"post","link":"https:\/\/cinema.video\/it\/the-bel-paese-from-russia-with-love","title":{"rendered":"THE BEL PAESE From Russia with Love"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-15851\" src=\"https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133-255x300.jpg\" alt=\"\" width=\"255\" height=\"300\" srcset=\"https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 255w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 768w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 150w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 300w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 696w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 357w, https:\/\/cinema.video\/wp-content\/uploads\/Caravaggio_RUS_EFE0F0F2EDE5F0FB_FINAL-e1539080416133.jpg 791w\" sizes=\"auto, (max-width: 255px) 100vw, 255px\" \/>Almost ten thousand kilometres separate the Cinema Aurora of Saint Petersburg and the Ussuri of Vladivostock, with a time lag of seven hours.<br \/>\nIn the first case we are in Europe, a stone\u2019s throw from Finland and Estonia, whilst in the second we\u2019re in Asia: a two-hour flight brings you to Beijing or Pyonyang, whilst it takes eight hours to get to Moscow. Yet their spectators have a lot in common: for example their love of Italy, whose culture, lifestyle and films they adore.<br \/>\nMore in particular, they are passionately keen on art documentaries from the Bel Paese.<\/p>\n<p>We\u2019re told all about it by <strong>Maria Bezenkova<\/strong>, Distribution Manager of <strong>Nevafilm Emotion<\/strong>, who is to be thanked for the spread of productions \u201cmade in Italy\u201d, such as \u201cRaffaello: Il Principe delle arti\u201d, \u201cFirenze e la Galleria degli Uffizi 3D\u201d, \u201cSan Pietro e le Basiliche Papali 3D\u201d \/ \u201cRaffaello, the Prince of Arts\u201d, \u201cFlorence and the Uffizi Gallery 3D\u201d, \u201cSaint Peter\u2019s and the Papal Basilicas 3D\u201d.<\/p>\n<p>\u201cArt documentaries,\u201d says Maria, \u201care highly appreciated and are, in fact, becoming increasingly popular, to the extent that Nevafilm Emotion has decided to concentrate all its efforts on this trend. When we began distributing added content \u2013 a dozen or so years ago \u2013 it was Italian opera, obviously from La Scala, that we brought to Russia\u2019s big screens. Nevertheless, we realized that the potential audience for this genre tends to remain stable: a mature audience, often with limited spending power. There are far more promising prospects for art content, able to attract spectators from different age ranges, generally decidedly younger, with greater economic resources and therefore willing to pay a premium.&#8221;<\/p>\n<p>Indeed, in Russia, too, as on the European markets where <strong>MEDIA Salles<\/strong> records trends, added content is sold at a markedly higher average price.<br \/>\nA ticket for the premi\u00e8re of an Italian art documentary in Moscow costs around 500 roubles (more or less 6.50 euros), two thirds higher than for film premi\u00e8res, offered at 300 roubles (around 4 euros).<br \/>\n\u201cTo get a more demanding audience \u2013 people from 24 to 35 \u2013 keen on art, the technical quality must be impeccable and it must be a production made specifically for the big screen, better still if it\u2019s in 3D. Anything that comes over like a TV documentary doesn\u2019t work. We then adapt these productions to our market, inviting experts on the cultural scene here in Russia, or film stars, to lend their voices for the dubbing and voice overs. So for the Uffizi, for example, we were able to count on Michail Borisovic Piotrovskij, Director of the Hermitage, for the Vatican Museums on Andrej Konchalovskij,\u00a0for Caravaggio on Vladimir Epifantsev.\u201d<\/p>\n<p>This strategy allows Nevafilm Emotion to reach from thirty to fifty cities with each of these added con- tent offers, both in European and in Asian Russia, including the regions of Siberia and the Amur.<br \/>\nIn its Cinema <strong>Pobeda<\/strong> (Victory), Novosibirsk, for example, the third largest city in Russia after Moscow and Saint Petersburg and a station on the mythical Transiberian railroad, offers a programme of Italian productions which, alongside seasons of full-length feature films, includes the most successful added content.<br \/>\nThe cinemas that transform themselves into ambassadors of Italian culture range from specialty theatres to the bigger, more commercial multiplexes, including arthouse or \u201ctraditional\u201d cinemas.<br \/>\nIf it comes as no surprise that in Moscow the Centre for Documentaries is a reference point \u2013 a sort of boutique that makes international selections of the genre \u2013 it is not so readily expected that the big Rus- sian chains, such as Cinema Park, Formula Kino, Karo and Kinomax (which represent over 22% of the Country\u2019s screens), should include Italian art in their offer.<br \/>\n\u201cIt is my hope,\u201d continues Maria Bezenkova, \u201cthat art productions from Italy will continue and indeed increase \u2013 keeping up their technical standards and excellent spectator value \u2013 so as to satisfy a growing demand.\u201d<br \/>\nWhile it is true that added content accounts for around 1% of the Russian film market \u2013 and this figure may seem negligible \u2013 it should not be forgotten that in 2017 Russia took over France\u2019s historical lead- ing role, counting over 213 million spectators. In other words, from the \u201890s up to today, Russia has increased its audiences ten times over and established itself as a market on which the great film producing countries cannot fail to concentrate.<br \/>\n\u201cI\u2019d like to see a stronger offer of Italian classics and titles from the \u201860s and \u201870s. Every year here in Russia there are interesting festivals and contemporary Italian weeks. Comedies and melodramas are very popular but if they could be combined with a glimpse of previous productions, spectator satisfaction could be even further increased,\u201d concludes Maria Bezenkova. Adding, \u201cFor me, Italy, its cinema and culture are a matter of business and love all in one!\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Almost ten thousand kilometres separate the Cinema Aurora of Saint Petersburg and the Ussuri of Vladivostock, with a time lag of seven hours. In the first case we are in Europe, a stone\u2019s throw from Finland and Estonia, whilst in the second we\u2019re in Asia: a two-hour flight brings you to Beijing or Pyonyang, whilst [&hellip;]<\/p>\n","protected":false},"author":101014,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAow3e7fCw:productID":"","_wpcom_ai_launchpad_first_post":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[84],"class_list":["post-15933","post","type-post","status-publish","format-standard","category-senza-categoria","tag-focus-on-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v28.4 (Yoast SEO v28.5) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>THE BEL PAESE From Russia with Love - Cinema &amp; Video International<\/title>\n<meta name=\"description\" content=\"THE BEL PAESE From Russia with Love \u2013 the bel paese from russia with. 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