The 71st David di Donatello awards, held recently at the legendary Cinecittà studios, served as a stark reminder of the enduring divide between the Italian public’s appetite and the Academy’s sensibilities. While the box office was dominated by the populist energy of Gennaro Nunziante’s Buen camino, the night belonged to the cerebral and the meticulously crafted, culminating in a dominant sweep for Francesco Sossai.
The evening was defined by the triumph of Le Dernier pour la route, which secured six trophies, including the coveted Best Film and Best Director awards. Sossai’s second feature film has spent the last year building critical momentum, first debuting in the Un Certain Regard section at the 2025 Cannes Film Festival before making its way to Italian screens. Its success at the Davids cements Sossai as a pivotal voice in the new wave of Italian cinema, blending artistic rigor with a narrative depth that resonated deeply with the voting body.
However, the narrative of the night cannot be told without acknowledging the commercial behemoth that loomed over the ceremony. Buen camino, starring the comedic powerhouse Checco Zalone, achieved a historic feat in 2025, becoming a cultural phenomenon that redefined the national box office. With earnings exceeding $90 million in Italy alone, it surpassed the original 2009 release of James Cameron’s Avatar ($82 million), marking one of the most successful domestic runs in the history of the industry.
Despite this unprecedented popularity, the film remained an outlier during the awards ceremony. In a pattern mirrored by the French Césars, the Academy largely overlooked the commercial giant, granting it only the David del Pubblico (Audience Award). Its only other nod in a competitive category was for the song “La Prostate enflammée,” a detail that underscored the often-tense relationship between populist entertainment and critical prestige.
Sossai’s Dominance and the Rise of New Narratives
The sweeping victory of Le Dernier pour la route was not limited to the top prizes. The film’s technical and narrative cohesion was recognized across multiple categories, winning Best Actor for Sergio Romano, Best Original Screenplay (shared by Sossai and Adriano Candiago), Best Editing by Paolo Cottignola, and Best Production. The film also took home the award for Best Song for “Ti,” composed by Marco Spigariol, and Best Casting.
While Sossai took the headlines, the technical awards highlighted other significant contributions to the year’s cinema. Damiano Michieletto’s Vivaldi et moi emerged as a technical powerhouse, claiming four awards for its immersive craftsmanship: Best Costumes (Maria Rita Barbera and Gaia Calderone), Best Music (Fabio Massimo Capogrosso), Best Sound, and Best Hair.
The Academy also looked toward the future and the fringes of the industry. Margherita Spampinato’s Gioia mia was honored as Best First Film, signaling a commitment to emerging directors. In the international category, the Academy recognized the vision of American director Paul Thomas Anderson, awarding Best Foreign Film to Une bataille après l’autre.
A Night of Late-Career Triumphs and Legacy
One of the most poignant moments of the evening was the recognition of Aurora Quattrocchi. At 83 years old, Quattrocchi claimed her first David for Best Actress in Gioia mia. Her victory comes after nearly four decades in the industry and a previous nomination three years ago for Mario Martone’s Nostalgia, serving as a powerful testament to the longevity of talent in Italian cinema.
The acting categories also saw a mix of established stars and returning favorites. Matilda De Angelis won Best Supporting Actress for her role in Fuori, while Lino Musella secured Best Supporting Actor for Nonostante. Musella’s win followed a previous nomination in 2021, marking a steady ascent in his professional standing.
The honorary segment of the evening was particularly generous, honoring figures who have shaped the visual and narrative language of the medium. Gianni Amelio, a veteran whose career spans since 1945, received the David for Lifetime Achievement. Despite 20 nominations since 1983, Amelio had only won once before, in 1992 for Les Enfants volés.
Further prestige was bestowed upon Vittorio Storaro, the legendary cinematographer known for his work on The Last Emperor. Storaro was awarded the Prix Cinecittà, acknowledging a career that has defined the use of light and color in global cinema. The Academy presented a Special David to animation pioneer Bruno Bozzetto, and actress Ornella Muti was present to collect a Special David from the previous year.
2026 David di Donatello: Major Winners
| Category | Winner | Work |
|---|---|---|
| Best Film | Francesco Sossai | Le Dernier pour la route |
| Best Director | Francesco Sossai | Le Dernier pour la route |
| Best Actress | Aurora Quattrocchi | Gioia mia |
| Best Actor | Sergio Romano | Le Dernier pour la route |
| Best Foreign Film | Paul Thomas Anderson | Une bataille après l’autre |
| Best Short Film | Omar Rammal | Everyday in Gaza |
The inclusion of Omar Rammal’s Everyday in Gaza as Best Short Film provided a sobering conclusion to the festivities, grounding the celebration of art in the urgent realities of global conflict.
As the industry looks forward, the focus shifts to the international distribution of this year’s winners. Several award-winning titles, including Gioia mia and Nonostante, have yet to secure French release dates, while Les Goûteurs d’Hitler (which won Best Adapted Screenplay and Makeup) is scheduled for a French premiere on May 20.
The Italian Academy will now begin its preparations for the next cycle of nominations, with an expected update on the upcoming production grants and co-production initiatives to be announced in the coming quarter.
What did you think of the 71st David di Donatello results? Do you believe the gap between box office success and critical acclaim is widening? Share your thoughts in the comments below.
