Actor Mel Gibson and Italian producer Andrea Iervolino have announced a proposal for a U.S.–Italy film co-production agreement, which they describe as a model that could shape future partnerships between the United States and other countries. The proposal is intended to promote joint film production, investment, and cultural exchange.
The agreement, still in its preliminary stage, outlines two key proposals: first, that Italian producers receive incentives to make films in the United States involving American actors and crews; second, that the Italian government launch support programs for projects designed to reinforce cultural connections between Italy and the United States.
The plan has been agreed in principle by Gibson and Iervolino, following a recent meeting. According to sources familiar with the initiative, the two are coordinating their efforts with the intention of formalizing the agreement at the 2025 Venice Film Festival. They aim to involve senior representatives from both national governments and film industries.
Gibson, appointed earlier this year by Donald Trump as a “special ambassador” to Hollywood, is set to begin filming The Resurrection of the Christ—a sequel to The Passion of the Christ—in Italy this summer. His involvement in the co-production treaty proposal coincides with other efforts by Trump’s team to promote domestic film activity. Fellow appointees Jon Voight and Sylvester Stallone have also taken on similar titles.
The filmmakers present the agreement as a potential economic driver. Iervolino has estimated that the model could lead to up to $10 billion annually in direct investment in U.S. productions. This figure, he suggests, reflects the appeal of encouraging foreign producers to shoot domestically while providing opportunities for local industry workers and creative professionals.
Iervolino framed the proposal as part of a broader effort to bring national industries into closer alignment with the U.S. market. “Many countries have established incentive programs to attract foreign productions and have signed bilateral agreements with various nations — but never with the United States,” he stated. He referred to this absence as an unresolved cultural and industrial gap.
Japan currently maintains a formal co-production agreement with the United States, but Italy has never finalized such a treaty. Last year, there were early reports that Cinecittà executive Roberto Stabile had explored a similar arrangement with U.S. officials, but no outcome was confirmed.
Iervolino emphasized that the United States remains central to global filmmaking and distribution. He described the American industry as a standard-setter and primary engine for international cinema. “This could mark, for the first time, a turning point in the history of global cinema,” he said, “bringing success and growth to all countries involved.”
The proposal comes in the wake of a recent policy announcement by Trump, who declared plans to impose tariffs on U.S. projects that shoot abroad. This development has renewed debate around federal support, investment strategies, and domestic production incentives. A draft version of Jon Voight’s related plan reportedly includes a 10% federal tax incentive and a national cultural certification model, similar to systems used in the UK.
