What is the «circoletto» they talk so much about in Belve?

In addition to the iconic «What beast do you feel like?», on Belve, when personalities from the film industry are invited, the host Francesca Fagnani often asks about the alleged «circle» of actors and actresses who seem to have more job opportunities than others in the field. This topic originates from some statements made by actress Giuliana De Sio, during an episode of the first season of Belve in 2018, when the program was broadcast on the Nove channel. «You said that in cinema, it’s always the same people working,» Fagnani recalls, often quoting past statements made by her guests. «No, you said it, but it’s true [...], there are only a few people, five or six… it’s a circle,» replied the actress. Since then, in various seasons, echoing De Sio’s remarks, Fagnani has posed the same question to many of her guests working in the film industry, such as Margherita Buy, Raoul Bova, Carolina Crescentini, Claudia Pandolfi, and Anna Foglietta, among others. «It’s quite true,» commented Nancy Brilli. «I am now part of that circle myself,» noted Alessandro Borghi. Claudio Amendola, on the other hand, stated that he does not believe he belongs to this restricted group of actors and actresses, though he acknowledges its existence – even referring to it as a «large circle». Recently, Barbara Ronchi, in an interview with the newspaper Il Messaggero, stated that she is certain of this «circle's» existence – she herself came «very close» to changing careers because of it. «And I say this with a heavy heart,» added the Roman actress. «The problem is not the actors but those who govern the system. Those who don't take risks and invest in new talent,» she explains. «Directors, producers, and distributors should be more generous and take more chances [...] If a talent doesn’t find an opening, it implodes and withers. I've seen many end up this way.»

What’s wrong with casting choices?

la prima attrice a cui frafagni non ha chiesto: GIULIANA DE SIO UNA VOLTA A BELVE HA DETTO… #belve pic.twitter.com/MbmmbSN9co

— fottutissima (@unpooverthetop) November 26, 2024

The existence of this hypothetical «circle» raises broader questions about accessibility and meritocracy in Italian cinema. The issue goes beyond the controversy itself and touches on critical aspects of the industry – including the distribution of opportunities, the gender pay gap, casting choices, and the system's ability to promote new talent. On one side, proponents of the existence of this restricted group of actors and actresses argue that the issue is conservative, driven by the need to continue ensuring secure box office returns for films. Many directors and producers are said to prioritize names capable of attracting audiences and funding, thus reducing the risk of commercial failure. Director Maura Delpero, during her speech for the Grand Jury Prize awarded to her film *Vermiglio*, noted that without access to public funding – that is, state subsidies for auteur cinema that ensure greater creative freedom – she would likely have «had to choose stars that guaranteed immediate commercialization» of her work. The effect of the alleged «circle» would also have implications for the quality of film products. While working with established actors ensures a certain level of revenue, it could limit the discovery of new faces and creators. According to many, investing in emerging talents is essential to ensure the vitality and continual regeneration of the film industry. «We need more Bellocchio, Sorrentino, and Garrone,» said Barbara Ronchi to Il Messaggero, citing as examples three important directors who, in some cases, have shown a preference for lesser-known or debut actors and actresses in their films. But this issue is not exclusive to Italian cinema.

In Hollywood, discussions often revolve around “typecasting,” a broader phenomenon where the same actors and actresses are systematically cast for similar or stereotyped roles based on physical characteristics, certain personalities, or past roles. In many cases, those who repeatedly play certain roles risk being stuck in those same parts and being unable to pursue a career beyond them. «When I was doing Italian comedy, I realized that wasn’t the role I started acting for,» Anna Foglietta recalled on Belve, saying she feared becoming «trapped» in that image. Similarly, the three protagonists of the Harry Potter films have often said that by the end of the saga, they were no longer playing a role but rather themselves: afterward, each in their own way tried to break free from their characters, learning – with all the associated challenges – what it means to portray a fictional subject. However, while the Anglo-Saxon film industry seems able to balance this dynamic thanks to a high number of varied productions and a more vibrant sector, Italian cinema must contend with more evident structural and financial limitations, which many believe lead to the selection of familiar faces to minimize risks in the distribution phase of works.