The 38th edition of the Eurovisioni International Day, held at the Farnese Palace in Rome, marked a decisive turning point in discussions on the future of the European audiovisual landscape. Far from conventional celebrations, the exchanges focused on a sense of urgency in the face of existential threats: the dominance of digital platforms, the meteoric rise of artificial intelligence (AI), and a geopolitical context of “information warfare.” Across four thematic sessions, regulators, industry leaders, and creators outlined a strategy for survival and resurgence based on digital sovereignty, responsible innovation, and European unity.
I. A Context of Absolute Urgency: The Hour of Predators
From the opening, the tone was set by the French Ambassador to Italy, Martin Briens, evoking “the hour of predators.” Europe finds itself squeezed between geopolitical pressures from the East and technological dominance from the West. Olivier Henrard (CNC) theorised the end of transatlantic innocence: the counterparts are no longer film studios speaking the same language, but tech giants for whom culture is merely one asset among other.
Michel Boyon, President of Eurovisioni, placed the proceedings under the sign of “vigilance” in the face of two major challenges: mastering AI and combating disinformation, a true poison for social cohesion. Roberto Viola (DG CONNECT) in his keynote address responded with an ambitious European strategic vision, structured around the AI Act, the Media Freedom Act (EMFA), and the future “Agora EU” programme .
II. Artificial Intelligence: Between Creative Revolution and Existential Threat
The first session explored the dual nature of AI. On one hand, it is perceived as a powerful tool for democratisation and efficiency. Carlo Rodomonti (Rai Cinema) and director Francesco Frisari demonstrated, with the short film “The Prompt,” how AI can reduce costs and open new narrative possibilities while remaining under human control. Philosopher Mario De Caro even suggested that modern AI demonstrates creativity comparable to that of human artists.
However, concern dominates on the economic and legal fronts. Viviana De Vincentis (SIAE) and Benoît Loutrel (Arcom) warned of the risk of predation of protected works to train AI models without adequate remuneration. The “Garbage in, Garbage out” principle threatens cultural quality if models are fed mediocre data. The legal battle has begun, with contradictory jurisprudence in Europe regarding the notion of copying by AI.
Regarding information, Christophe Tardieu (France Télévisions) and Matthias Feffer (Council for European Public Space) denounced the lack of editorial responsibility of generative AIs, potential vectors of massive disinformation. They call for strict regulation to prevent content looting and guarantee access to verified information.
III. Public Service Media at a Crossroads: Adapt or Disappear
The second session drew an alarming picture for public service media, threatened with obsolescence among younger generations who overwhelmingly get their information via social networks. Amma Asante (Commissariaat voor de Media, Netherlands) quantified this disengagement, noting that 80% of the public audience is over 50.
Eric Schérer (EBU) warned against the “loss of human control” over information and formulated five demands to platforms, including stopping content “rape” and guaranteeing sourcing. Karim Ibourki (Belgian CSA) pointed to the role of algorithms as “new responsible publishers,” often favouring divisive content over quality information.
Facing the financial asphyxiation denounced by Stéphane Bijoux (France TV), the answer lies in innovation and alliance. Sara Zanotelli (AICDC) showed the value of integrating digital content creators, as seen during the Sanremo festival. The “The European Perspective” initiative, allowing the translation and sharing of news between European public media via AI, was cited as a model to follow.
IV. The Battle for Audience Measurement: Ending the Digital Wild West
The third session addressed a technical but politically explosive subject: audience measurement. Laura Aria (Agcom) recalled that the EMFA now imposes principles of transparency and verifiability to break the “black box” of platform metrics.
Paolo Lugiato (Auditel) and Yannick Carriou (Médiamétrie) defended the “Joint Industry Committees” (JIC) model as guarantors of impartial measurement (“the kilo of carrots”), facing the proprietary systems of Big Tech. Diego Ciulli (YouTube) acknowledged the need for common measurement but contested the technical imposition of the SDK (tracking software), preferring “server-to-server” solutions.
Carolina Lorenzon (MFE) denounced the “armed opacity” of platforms and demanded a true European audience “currency” to ensure fair competition. The goal is now to achieve a unified and comparable “Total Audience” at the European level by 2026.
V. Towards European Cultural Sovereignty
The fourth session broadened the debate to geopolitics. Faced with falling cinema attendance (-25% compared to 2019), modernisation and the defence of cultural diversity are urgent. Lucia Recalde (European Commission) presented “Agora EU,” an ambitious programme with €3 billion to support not only audiovisuals but also independent journalism.
Enrico Vannucci (Eurimages) and Carlotta Calori (European Producers Club) recalled the importance of supporting independent production to preserve the diversity of voices against algorithmic uniformity. Olivier Henrard (CNC) called for a revision of the AVMSD directive to increase quotas for European production imposed on platforms.
Conclusion: From Legislation to Effectiveness
In summary, Eurovisioni 2025 marked the transition from an intense legislative phase (DSA, DMA, EMFA, AI Act) to a critical implementation phase. The conclusions, delivered by Benoît Loutrel, Florence Alibert, Giacomo Lasorella, and Michel Boyon, insist on the imperative of the effectiveness of norms.
Europe has the legal tools but must now prove its capacity for enforcement. The priorities are clear: regulate AI to protect creation, ensure the financial survival and independence of public media, guarantee transparent audience measurement, and maintain massive support for cultural production via programmes like Agora EU.
The dominant sentiment is one of lucid combativeness. The Franco-Italian axis appears as an essential engine of this dynamic. As Michel Boyon summarised, Europe has the means for its “Hope” if it manages to act collectively to impose its digital and cultural sovereignty in this brutal new world.