It unfolded across social networks, on television, and at political gatherings, reflecting a noisy climate in Italy. Italian art, culture, and entertainment found itself deeply entwined with the far right, embodied by Fratelli d’Italia, the party of Giorgia Meloni, which secured a pivotal general election victory on September 25. A broad spectrum of writers, thinkers, historians, documentarians, and especially artists—from singers and actors to cartoonists—have expressed strong opposition, while the feeling is mutual in many circles.
Giorgia Meloni is noted for his rhetorical skill, shaping discourse with the precision of a well-tuned instrument and often threading messages through controversial terrain. He remarked that every day a figure from the entertainment world attacks him, and he questions whether anyone among them shares their political outlook, wondering aloud if democratic discourse can accommodate differing views. The sentiment he voices hints at a broader debate about political messaging and identity in the country.
In late August, Fratelli d’Italia Vice-President of Culture and Federico Mollicone criticized the Venice Film Festival for including in its lineup a documentary by Irish director Mark Cousins titled March in Rome. The film examines the founding myth of fascism by juxtaposing archival footage of Benito Mussolini with contemporary nationalist figures such as Meloni, Donald Trump, Marine Le Pen, and Viktor Orbán. Mollicone raised questions about why the ministry of culture, which partially funds the festival, allowed the release so close to elections, suggesting that the festival was being used as a political tool. He also criticized the possibility of RAI broadcasting the Pride Parade live and opposed airing a Peppa Pig episode featuring a polar bear with two mothers, calling such content non-performative in nature.
The debate mirrors a wider chain reaction in Italian public life, where warnings about the country’s future surged after the July elections. Pop culture figures, who reach large audiences primarily through television and the internet, have tended to be the most vocal in this moment. Italian actress Ornella Muti, a renowned figure in European cinema, reflected on the prospect of Meloni becoming prime minister with a mix of concern and humor. Meloni has also faced public critique from artists and commentators who previously voiced support for liberal or centrist positions, including controversies involving rapper Fedez and Chiara Ferragni, who has been vocal against the far right in the past.
Dacia Maraini, a celebrated poet and longtime observer of Italian cultural life, expressed that while it remains uncertain how a Meloni-led government might affect freedom of expression, many artists worry because the right has historically shown resistance to free press and independent thought. She noted that Meloni’s stated motto centers on God, country, and family, signaling a conservative and traditional stance that could clash with modern, progressive currents in the arts. These concerns were shared in conversations with El Periódico, highlighting the tension between cultural continuity and artistic liberty.
Some voices have been more direct. Singer Loredana Bertè urged Meloni to reconsider the party’s symbolic emblems, calling for the removal of the tricolor flame from the party logo, a symbol with historical ties to the old Italian Social Movement. Cartoonist Makkox suggested that the Fratelli victory may reflect the country’s current desires, describing society as one where ignorance acts as fuel for political sentiment. The sentiment echoes across the cultural sphere, where artists debate the meanings of national symbols and their impact on public life.
Young artist Ariete spoke about the autonomy of personal choices, cautioning against anyone dictating career paths, parenting, or love. The discussion touched on Meloni’s ongoing alignment with historical trajectories within Italian politics. Antonio Scurati, author of a well-documented Mussolini biography, has described Meloni’s claimed break from fascism as a hoax in public discourse, underscoring the deep and sometimes contentious interpretive debates surrounding leadership and legacy.
Not all voices align with this pessimistic view. Some right-leaning or liberal commentators have offered counterpoints, arguing that Fratelli is no longer a fascist party. This viewpoint has been welcomed by conservative thinkers who prioritize other dimensions of political discourse, emphasizing tolerance for divergent opinions and the complexity of political identity within the spectrum. The debate continues to unfold as Italian society navigates questions about history, memory, and the role of culture in politics, with many watching how leadership choices will shape artistic freedom and public life in the years ahead. The dialogue remains vibrant and unresolved as various voices weigh in on the nation’s cultural and political future, with long-standing figures and new commentators contributing to a diverse chorus of perspectives.