The prosecutor’s investigation on the funds pulled by the fake director Kaufmann is not enough. Parliament must clarify the entire tax Credit system wanted by Franceschini. Which, among other things, allowed another film never made to collect 6 million
In addition to investigating the murder of Villa Pamphili (a girl who came from the East and the daughter abandoned in the park as waste), the judiciary seems to have opened a file also on the strange story of the loan granted to the alleged killer: Francis Kaufmanna braggart that with the false name of Rexal Ford accredited himself as a director. To him, thanks to the tax credit system that Dario Franceschini He invented to keep the Radical Chic cinema court good, almost a million euros. Public money, granted for a film that has never seen a screening room. A million or almost for a film never made.
But to the case Kaufmann add others. Yesterday, on Truth, Davide Perego He revealed that in 2023, due to the Franceschini standard, the Ministry financed 55 foreign films, for an amount that exceeds 350 million. Already this is worthy of attention: why do the state, that is, Italian taxpayers, have to finance films of foreign directors and producers? The politicians who have given the green light to this manger say that our country benefits from it, because the workers who work on the works are Italian, like the locations used for filming. In reality, this is not always true, because in more than one case we discovered that the films of films officially produced in a region have been shot outside the national borders. And this is already a problem, given that the films so they are not needed to advertise the locations that finance them nor to give work to Italian operators. But there is more. Of the 55 films financed with public money, 12 of 12 was lost. Although they are reported in the list of works that have had access to ministerial support in the form of tax credit (tax benefit that for the recipient immediately translated into cash due to the transfer of credit to banks and financials that, as happened with the superbonus, pay less taxes), these films have seen them. And not in the sense that in the room, when they were projected, not even a spectator showed up, but meaning that beyond the title it did not go.
But there is something even more scandalous. As he said Peregothe ministry financed a film that does not even have a title, and the production company does not have a website. In short, we are in front of a ghost work, which however benefited from six million tax credits. The director of the Ministry and officials will repeat the story that they have told us in recent days, about the other ghost film, that of Francis Kaufmannthat is, that everything is in order, all done according to the rules. But a contribution to a film that is not there cannot be in order and whose title is not even known. The rule cannot be the concession of funds to strangers whose address to find them is unknown. We are talking about six million, and if we add them to other films never seen in the room or with a number of spectators who do not exceed the circle of relatives you can reach figures to be frightened. Over the years, the state with this system has given billions. And the gentlemen who have allowed him are the same ones who speak of poor, of minimum wages, of salaries that grow too little.
I believe that to identify the responsibilities of what happened, a survey of the judiciary on the Kaufmann case is not enough. As an alleged killer has been financed by the state even if it is not even Italian, we will understand it when and if there is a process. But a parliamentary commission of investigation that ascertains the responsibilities of this film I think it is useful immediately. Chamber and Senate have often started investigations which they did not miss. In the case of the films paid to a clique of radical chic of a parliamentary investigation instead the urgency is heard.
