In the mid-to-late 2000s, the digitalization of film production in Italy carried a promise of increased diversity and cultural pluralism due to the lower entry barriers. About a decade later, in 2016, the so-called Franceschini law introduced a revision of the norms regulating public funding which included a mandate for greater inclusivity. Did these developments fulfill their promise? The article answers this question empirically by investigating the roles occupied by women within Italian film productions and co-productions that obtained clearance (nulla osta) for national theatrical distribution between 2017 and 2021...