Interview with Marco Spagnoli, Artistic Director of the Italian Global Series Festival: Italy’s Serialized Storytelling Goes Global
From June 21 to 28, 2025, Rimini and Riccione will host the inaugural edition of the Italian Global Series Festival, a new international event dedicated to television series. Leading its artistic direction is Marco Spagnoli—director, journalist, and critic with extensive experience in the Italian audiovisual sector—whose most recent work, “Pino Daniele – Nero a metà”, is currently the most-watched documentary in Italian theaters
The festival aims to enhance the global visibility of Italian series and build a bridge between industry, creativity, and audiences.
How did the idea for the Italian Global Series Festival come about? What need does it aim to address in today’s media landscape?
The festival stems from the commitment of the government, Undersecretary for Culture Lucia Borgonzoni, and Chiara Sbarigia, President of the Italian Audiovisual Producers Association (APA), to restore the legacy of RomaFictionFest, which from 2007 to 2016 was one of Europe’s leading festivals dedicated to television series. I served as Deputy Director and Head of International Programming for that event, so I may not be impartial—but I am firmly convinced of its importance. What I can say is this: since 2017, without such a festival, Italian series and productions—except for a few—have lost international visibility. The Italian audiovisual sector has mostly been reduced to playing guest roles at other events, with a few titles screened out of competition at major film festivals like Venice, Rome, and Bari.
Meanwhile, France now has three TV-dedicated festivals. It’s clear that Italy also needs its own event focused on series, as a strategic communication tool and a platform for industrial networking. The audiovisual industry needs a spotlight on the cultural and societal value of serialized storytelling.
Who is the festival primarily aimed at—industry professionals or the general public?
The audience is at the heart of this festival, which is free to attend. We strongly believe that screening series on the big screen offers a powerful cultural and social experience, with great appeal not only for fans, but also for anyone who loves storytelling through series. As an international event, it will also be a valuable opportunity for professionals to observe how viewers react to stories from around the world.
The festival’s name clearly signals an international focus. What kind of partnerships are you developing abroad?
Our mission is to promote the Italian system within a European and global framework. We’re in contact with major streamers and broadcasters around the world, and we’ve already received entries from 27 countries across five continents. Our goal is to bring global talent and producers to Rimini and Riccione, because we believe a festival is, above all, a meeting place—where investments, collaborations, and projects can take root, and where Italy can shine as a global showcase.
What are the selection criteria for series? Will there be an official competition?
There will be three international competitions: Series, Limited Series, and Comedy. The main criteria are originality and quality. We’ll also feature out-of-competition screenings and special events, with all titles being at least Italian premieres.
What role will streaming platforms play in the festival?
They’ll be well represented with various titles. Our current lineup already includes series from Netflix, Amazon, HBO Max, Disney+, and Paramount+. We’re also in talks with Peacock—which isn’t active in Italy—and Universal for other major premieres. The strong backing of our institutional partners and our own international outreach (our PR agency is Organic, a well-known firm in the U.S.) have helped us build a lineup that we believe is both original and compelling.
In your view, what are the strengths of Italian series on the global stage?
Italy has always been a land of cinema. As a scholar of American film history, I often remind people that the first U.S. studio offices in Italy opened in the 1920s and ’30s, and American productions began filming here as early as the early 1900s. This speaks volumes about Italy’s enduring allure in the audiovisual world. Italian series are heirs to this tradition—their strength lies in a unique blend of originality and classic appeal, with stories that resonate with millions of Italians each week.
Sometimes, this strong local appeal has led to overlooking the potential for more international dialogue. That said, Italy has produced many global hits—from “My Brilliant Friend” to “The Law According to Lidia Poët,” from “Gomorrah” to “The Young Pope”, and beyond. The hope is to achieve greater international recognition even with more contemporary, less period-focused narratives.
Can you share a preview of the festival program? Will there be premieres, panels, and networking opportunities?
Yes, all of the above—and much of the program will be announced in Cannes in mid-May.
To the readers of this publication, I want to say: we’re still open to last-minute proposals. My approach is to keep things as dynamic, engaging, and useful as possible—so we’re listening to ideas all the way up to June.
One panel I’m excited to announce as a preview here is emblematic of the kind of crossovers that interest us most: Vikings vs. Romans – How Series Help Us Understand History. Moderated by a renowned Italian historian, the panel will include cast members from “Vikings”, “Barbarians”, “The First King”, and other hit shows.
Our goal is to bring a “pop” reinterpretation of serial storytelling—discussing production, ideas, and audience engagement.
We thank Marco Spagnoli for this insightful conversation and look forward to the debut edition of the Italian Global Series Festival.
📣 Call for Entries – Deadline: June 4, 2025
ITALIAN GLOBAL SERIES FESTIVAL – IGSF is coming soon!
The first edition of the international TV series festival will take place from June 21 to 28, 2025, across Rimini and Riccione.
IGSF exclusively selects and invites scripted works commissioned or produced for television or OTT platforms, created by Italian and/or international productions between June 2024 and May 2025.
Please note: Documentaries, animated works, short films, advertising shorts, telenovelas, and soap operas are not eligible.
⏳ Hurry—this year’s Call for Entries closes on June 4, 2025!
👉 Submit now at: www.italianglobalseriesfestival.it
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Interview with Daniele TruocchioRelated Posts
From June 21 to 28, 2025, Rimini and Riccione will host the inaugural edition of the Italian Global Series Festival, a new international event dedicated to television series. Leading its artistic direction is Marco Spagnoli—director, journalist, and critic with extensive experience in the Italian audiovisual sector—whose most recent work, “Pino Daniele – Nero a metà”, is currently the most-watched documentary in Italian theaters
The festival aims to enhance the global visibility of Italian series and build a bridge between industry, creativity, and audiences.
How did the idea for the Italian Global Series Festival come about? What need does it aim to address in today’s media landscape?
The festival stems from the commitment of the government, Undersecretary for Culture Lucia Borgonzoni, and Chiara Sbarigia, President of the Italian Audiovisual Producers Association (APA), to restore the legacy of RomaFictionFest, which from 2007 to 2016 was one of Europe’s leading festivals dedicated to television series. I served as Deputy Director and Head of International Programming for that event, so I may not be impartial—but I am firmly convinced of its importance. What I can say is this: since 2017, without such a festival, Italian series and productions—except for a few—have lost international visibility. The Italian audiovisual sector has mostly been reduced to playing guest roles at other events, with a few titles screened out of competition at major film festivals like Venice, Rome, and Bari.
Meanwhile, France now has three TV-dedicated festivals. It’s clear that Italy also needs its own event focused on series, as a strategic communication tool and a platform for industrial networking. The audiovisual industry needs a spotlight on the cultural and societal value of serialized storytelling.
Who is the festival primarily aimed at—industry professionals or the general public?
The audience is at the heart of this festival, which is free to attend. We strongly believe that screening series on the big screen offers a powerful cultural and social experience, with great appeal not only for fans, but also for anyone who loves storytelling through series. As an international event, it will also be a valuable opportunity for professionals to observe how viewers react to stories from around the world.
The festival’s name clearly signals an international focus. What kind of partnerships are you developing abroad?
Our mission is to promote the Italian system within a European and global framework. We’re in contact with major streamers and broadcasters around the world, and we’ve already received entries from 27 countries across five continents. Our goal is to bring global talent and producers to Rimini and Riccione, because we believe a festival is, above all, a meeting place—where investments, collaborations, and projects can take root, and where Italy can shine as a global showcase.
What are the selection criteria for series? Will there be an official competition?
There will be three international competitions: Series, Limited Series, and Comedy. The main criteria are originality and quality. We’ll also feature out-of-competition screenings and special events, with all titles being at least Italian premieres.
What role will streaming platforms play in the festival?
They’ll be well represented with various titles. Our current lineup already includes series from Netflix, Amazon, HBO Max, Disney+, and Paramount+. We’re also in talks with Peacock—which isn’t active in Italy—and Universal for other major premieres. The strong backing of our institutional partners and our own international outreach (our PR agency is Organic, a well-known firm in the U.S.) have helped us build a lineup that we believe is both original and compelling.
In your view, what are the strengths of Italian series on the global stage?
Italy has always been a land of cinema. As a scholar of American film history, I often remind people that the first U.S. studio offices in Italy opened in the 1920s and ’30s, and American productions began filming here as early as the early 1900s. This speaks volumes about Italy’s enduring allure in the audiovisual world. Italian series are heirs to this tradition—their strength lies in a unique blend of originality and classic appeal, with stories that resonate with millions of Italians each week.
Sometimes, this strong local appeal has led to overlooking the potential for more international dialogue. That said, Italy has produced many global hits—from “My Brilliant Friend” to “The Law According to Lidia Poët,” from “Gomorrah” to “The Young Pope”, and beyond. The hope is to achieve greater international recognition even with more contemporary, less period-focused narratives.
Can you share a preview of the festival program? Will there be premieres, panels, and networking opportunities?
Yes, all of the above—and much of the program will be announced in Cannes in mid-May.
To the readers of this publication, I want to say: we’re still open to last-minute proposals. My approach is to keep things as dynamic, engaging, and useful as possible—so we’re listening to ideas all the way up to June.
One panel I’m excited to announce as a preview here is emblematic of the kind of crossovers that interest us most: Vikings vs. Romans – How Series Help Us Understand History. Moderated by a renowned Italian historian, the panel will include cast members from “Vikings”, “Barbarians”, “The First King”, and other hit shows.
Our goal is to bring a “pop” reinterpretation of serial storytelling—discussing production, ideas, and audience engagement.
We thank Marco Spagnoli for this insightful conversation and look forward to the debut edition of the Italian Global Series Festival.
📣 Call for Entries – Deadline: June 4, 2025
ITALIAN GLOBAL SERIES FESTIVAL – IGSF is coming soon!
The first edition of the international TV series festival will take place from June 21 to 28, 2025, across Rimini and Riccione.
IGSF exclusively selects and invites scripted works commissioned or produced for television or OTT platforms, created by Italian and/or international productions between June 2024 and May 2025.
Please note: Documentaries, animated works, short films, advertising shorts, telenovelas, and soap operas are not eligible.
⏳ Hurry—this year’s Call for Entries closes on June 4, 2025!
👉 Submit now at: www.italianglobalseriesfestival.it
Share:
Interview with Daniele Truocchio
