Nicolò Gallio - Marketing Strategist & Audience Designer

Casa
Italia
Milano, Lombardia
Nicolò Gallio - Marketing Strategist & Audience Designer

I am a consultant specialised in the audiovisual industry, working across fiction films, documentaries and TV series. I hold a PhD in Film Studies.

I provide services ranging from marketing, communications, audience design, to script development. I provide services ranging from marketing, communications, audience design, to script development.

22/09/2026

The organisation of the 14th Baltic Pitching Forum is in full swing, and I look forward to joining the speakers of the largest short film industry event in the Baltic countries and meeting the 12 selected projects from the Baltics and this year’s guest country, Italy.

Save the date: 7 October 2026, 14:00-16:00, National Gallery of Art – Vilnius (LT)
“Short Films, Big Stakes: What AI Can and Cannot Do for Filmmakers”

The session, in partnership with Creative Europe MEDIA Desk Lithuania, will examine the ethical and ecological costs of Generative AI, the cognitive risks of uncritical adoption, and the question of where human judgement remains irreplaceable. It will offer a critical framework for using AI in creative practice without outsourcing your thinking.

Registration: https://form.jotform.com/262532137918359

See you in Vilnius!
Lithuanian Shorts

15/09/2026

“To understand error in judgment, we must understand both bias and noise.” – Daniel Kahneman, Olivier Sibony and Cass Sunstein, NOISE: A FLAW IN HUMAN JUDGMENT (2021).

This book is a trait d’union between two areas that I find fascinating: algorithm-based decision making and human judgment. The more I’ve been studying the implications of artificial intelligence in creative processes, the more I am captivated by how we, as human beings, make decisions. Now that AI is driving many processes across all industries, the theme of “who (or what) is actually deciding” is becoming increasingly important.

In the audiovisual scenario this is evident, for example, in the context of AI-based predictive analysis when it comes to green lighting a project, as opposed to relying on gut feeling or instinct. In both cases though, what comes into focus is the need to consider not only biases (human or encoded in the data at the heart of algorithms), but also noise – unwanted, random variability in decisions that should be identical – as these are distortions that can steer the decision process. This is ultimately a question of where we place trust: in a human, in a machine, or in some combination of the two. Hence the need to deploy algorithms in scenarios where they perform better (e.g. where a decision is repeatable and rule-governed), and to spend time on what the authors call “decision hygiene”, to make human judgment less noisy in those contexts in which full automation is not feasible or desirable.

I was glad to pick NOISE as my “warm up reading” ahead of the Executive Master in Behavioral Economics & Choice Architecture at the Decision Academy business school that I am starting this week in Milan. In a world in which AI can take over decisions, do we really want that? More about this in the upcoming months.

08/09/2026

For family reasons – my wife is Belgian – I visit Brussels twice a year. It is usually a daylight, sanitised and “postcard” version of the city that I experience, so it’s only through cinema that I explore a darker, grittier side of the capital. Whether through horror, neo-noir or thriller, some of the films from the region I’ve worked on in the past few years showed me a more savage, out-of-control, even crime-infested part of Brussels. (It’s good that it’s just fiction, though.)

Olivier Pairoux’s VIGILANTE was one of those projects. Through the descent of his protagonist Morville (portrayed by Eddy de Pretto) into the underbelly of the city, where people take matters into their own hands after the system fails to deliver justice, we get to experience the dark world of vigilantism, in which violence and moral boundaries blur while havoc is brought to the characters’ personal lives.

After its world premiere at the Festival du Film Francophone d'Angoulême, the film has just been presented at the Brussels International Film Festival. It was such an eye-opening experience to immerse myself in a darker version of Brussels to create a marketing strategy for the film, together with Mathias Noschis at Alphapanda, when it was still at script stage.

VIGILANTE is out in Belgian cinemas tomorrow, distributed by Brightfish. Go and get lost in Morville’s Brussels.

01/09/2026

Kicking off September with a very special workshop: part two of TorinoFilmLab’s signature FeatureLab. I’m looking forward to sharing ideas with 21 professionals from 10 countries across Europe, Asia and the Americas, developing 10 fiction projects selected from 236 applications from 73 countries.

I’ll sprinkle some audience design on a wide range of stories: from facing family drama and migration in the Guatemalan jungle, to navigating street money lending in Bogotá, from coming to terms with grief in a small suburban town, to diving into nightlife with close friends after a breakup. And so much more.

Thank you to TFL and to the lab’s Head of Studies, Violeta Bava, for having me on board.

Projects details: https://torinofilmlab.it/news/open-calls-selections/the-2026-class-of-featurelab

25/08/2026

Happy to share that THE IDIOT(S), a witty reimagining of the story behind Dostoevsky’s “The Idiot” seen through the perspective of his wife, Anna, has been selected for the Official Competition of BFI London Film Festival. And before heading to London, the film will be presented at the upcoming edition of TIFF, in the Special Presentations section. Talk about a great start on the festival circuit!

THE IDIOT(S) is directed by Małgorzata Szumowska and Michal Englert, and I had the chance to contribute to its early marketing strategy and briefing for digital materials with my fellow pandas Joanna Solecka and Catarina Oliveira at Alphapanda. It was great to see this story coming alive from the book “The Gambler Wife” through the script to its final audiovisual form, following the protagonists’ journey: Russian author Fyodor Dostoevsky (portrayed by Johnny Flynn) and his wife, Anna Dostoevskaya (Aimee Lou Wood).

Behind a great man, there’s a great woman, or so the saying goes. Judge for yourself – soon on the big screen.

International sales: The Match Factory.

18/08/2026

When it comes to human tragedies, anonymity is a wall we need to breach to engage with the people on the other side of the world. So many migrant stories are portrayed incessantly through screens every day, so much so we risk keeping them at distance just to protect ourselves from their (and ours) trauma and suffering. Instead, we must get to know them as much as we can: names and stories, before numbers.

Getting so close to the lives of Roro, Hani and their children is one of the aspects that hit me most in Sine Plambech’s new documentary RESCUE – co-authored with Janus Metz – which I am happy to share will have its world premiere at TIFF 2026. It is at its core an intimate and epic effort to reunite a family separated during a frantic rescue attempt in open waters, but also a close look at the reality of how migration routes in the Mediterranean Sea are used as a political weapon.

I am proud to have contributed to a tiny bit of the film’s journey, working on marketing with Joanna Solecka and my fellow pandas at Alphapanda. I hope you all get a chance to see it soon. And remember those names.

More about the film: https://tiff.net/films/rescue

11/08/2026

The Locarno Film Festival was hot. Literally, because of the temperatures the city was under when I was there last week. But, most importantly, for the vibe: a mix of serious industry topics, cult icons being awarded, and great films being screened. And yes, this time I managed to see quite a few titles, including a nighttime special 4-hour long extended cut of “Dances with Wolves”, a film that, as a kid, made me fall in love with cinema – how epic was the visual restoration boosted by John Barry’s score spreading through Piazza Grande at almost 4am: thank you Cinegrell and Locarno Heritage programme, you made my day!

I am not one for tagging everyone I had the pleasure to engage with either in business conversations or simply relaxed comments before a screening, so I'll just say thank you again to Markus Duffner and Marcello Paolillo for having me there with so many professionals, both experienced and emerging talents from all around the world. Although we always worry about the state of the audiovisual industry, cinema in particular is alive and well. And it will remain such for as long as we care for it, as professionals and fans of the seventh art.

Much of the Locarno Pro activities I was involved in took place behind closed doors, but here is a sneak peek I am allowed to share. At the time of posting this, is still in full swing, so head over to the festival’s social media to get the latest updates. And if you’re close to Locarno, just do yourself a favour and gift yourself with a good film.

28/07/2026

“We can tentatively define a superintelligence as any intellect that greatly exceeds the cognitive performance of humans in virtually all domains of interest.” – Nick Bostrom, SUPERINTELLIGENCE: PATHS, DANGERS, STRATEGIES (2014)

Hearing about systems that might one day become superintelligent might sound a bit abstract to those who use artificial intelligence for mundane tasks, but the notion of superintelligence has been at the centre of the debate around the existential risk of this technology for quite some time, and how to solve the AI control problem while building machine intelligence with positive values is still the crux of the matter for many researchers.

A few years back, I first approached this subject through Nick Bostrom’s book, which admittedly is the most speculative and philosophical among the titles I’m sharing, yet it’s a fascinating dive into a side of the field that explores the potential dangers of AI from a cognitive perspective and on a universal scale.

For those interested in exploring the implications of machine minds potentially surpassing human minds, and the type of power that might be unleashed, SUPERINTELLIGENCE still holds up more than a decade after its release. I consider it a good introduction to a relevant area of research that doesn’t feel sensationalist.

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