Carlo Verdone Returns with ‘School of Seduction’ on Paramount+ and Reflects on Italian Cinema
Carlo Verdone’s latest film, ‘School of Seduction’ (Italian: *Scuola di seduzione*), is set to premiere on Paramount+ on April 1st. The film, inspired by an article in The Guardian about the rise of online seduction coaching, explores the complexities of modern relationships and vulnerabilities. The cast includes Karla Sofía Gascón Ruiz, Lino Guanciale, Vittoria Puccini, Beatrice Arnera, Euridice Axen, and Romano Reggiani, and is produced by Luigi and Aurelio De Laurentiis.
From Series to Film: A Return to Directing
The film marks Verdone’s return to directing feature films after a four-season run with the series ‘Life as Carlo’ (2021-2025). Verdone expressed initial concerns about readjusting to the faster pace of filmmaking after the more expansive storytelling allowed by the series. He stated his desire to blend into the ensemble cast, moving away from being the central focus as he was in ‘Life as Carlo’.
A Choral Story of Modern Relationships
‘School of Seduction’ follows six protagonists navigating various relationship challenges: seeking love, coping with casual encounters, attempting to save marriages, confronting past regrets, grappling with feelings of inadequacy, and searching for lost paternal connections. The narrative unfolds within the unconventional setting of a seduction school led by Karla Sofia Gascón Ruiz, who portrays a transgender psychologist. Ruiz, who won the Female Actor Award at the 2024 Cannes Film Festival for her role in ‘Emilia Perez’, described the experience as a homecoming, having previously worked in Italy.
Future Projects and Reflections on Italian Cinema
Verdone is already working on his next film, which he intends to release in theaters. This prompted a discussion about the evolving landscape of Italian cinema and the shifting preferences of audiences. He noted a decline in cinema attendance compared to 15 years ago, attributing it primarily to weaknesses in scriptwriting.
“There’s a bit of sloppiness and that drives the audience away. More care is needed in films that are delivered for the massive screen,” Verdone commented, citing the success of films like Paolo Sorrentino’s *The Great Beauty* and Checco Zalone’s comedies, as well as Paola Cortellesi’s *There’s Still Tomorrow*, as examples of well-written projects that resonated with audiences.
The Demand for New Talent
Verdone also emphasized the importance of fostering new talent within the Italian film industry. He expressed concern over the decreasing number of films being produced, particularly impacting smaller productions that often serve as launching pads for emerging directors and actors. He highlighted the value of independent productions, which often operate with limited budgets but can provide opportunities for fresh voices and innovative ideas.
De Laurentiis on Funding and Politics
Producer Aurelio De Laurentiis voiced criticism regarding the allocation of public funds for cinema, suggesting that current Minister of Culture, Gennaro Sangiuliano, lacks the expertise to effectively manage these resources. De Laurentiis accused the system of inefficiencies and potential misuse of funds, calling for greater transparency and accountability. He proposed a funding model based on post-release performance and audience reception, allocating 50% of funds based on a film’s popularity. He also invited the Minister to engage in dialogue with industry professionals to improve the system.