Author: Zoe Alice Deotto, M.A. Candidate

Political satire is the tool that people use to express their dissent and voice their opinions about their rulers. The tone is light, playful, but sharp at the same time: it carries messages with strong meaning. Mockery towards the powerful, towards those in command, has very ancient origins and has taken on different nuances throughout history. The peculiarity of this comic critique lies in its ability to provoke reflection (Feltrinelli Editore, 2021) and stimulate, precisely, the critical thinking of the public towards the actions of those who govern.Political satire has had to struggle against forms of inquisition and censorship; those who engage in it, even now, have always kept a vigilant eye, fearing forms of repression and banning. Now, in democratic and liberal regimes, dissent and political satire fall within the broad family of actions made possible by the so-called “freedom of expression”. Whether political, cultural, or religious, personal identity and its expression are guaranteed by law.If we look at the Constitutions of countries like Italy and Romania, we read:

• “Everyone has the right to freely express their thoughts through speech, writing, and any other means of dissemination” (Art. 21, Constitution of the Italian Republic);
• “Romanians, regardless of ethnic origin, language, or religion, enjoy freedom of conscience, freedom of education, freedom of the press, freedom of assembly, freedom of association, and all the freedoms and rights established by law.” (Art. 5, Constitution of Romania).

Every individual, citizen, and foreigner possesses this freedom which corresponds to the natural need to openly express their thoughts (Boggero, 2020), both individually and in social formations.

This op-ed aims to delve into the context of freedom of expression, focusing on the political satire phenomenon. The Romanian and Italian cases will be analyzed comparatively: after a brief analysis of the “health” of democracy in these two countries, the regulatory context in which political satire is inserted and its legal limits will be examined. Finally, some concrete examples of Italian and Romanian political satire will be looked at to understand their similarities and differences.

Romania and Italy are two countries that can be considered “democratic”. According to the annually updated Freedom House portal, both have received high freedom scores in terms of political rights and civil liberties: 83/100, respectively 90/100 (Romania: Freedom in the World 2024 Country Report; Italy: Freedom in the World 2024 Country Report).

In Italy, controversial topics can be discussed freely in public without fear of repercussions, and the press is free and pluralistic. The same applies in Romania, although, despite a high degree of freedom of expression (3 out of 4 points), independent journalism faces difficulties due to ineffective information freedom regulations and political party investments aimed at influencing how the media covers news (Newman et al., 2023).

Let’s delve into the freedom of expression in its satirical manifestation. Within the Italian regulatory framework, the so-called “right to satire” exists, which is protected, like the right to report and criticize, by constitutional principles (Articles 9, 21, and 33 of the Constitution). This right is not explicitly enshrined but is inferred from doctrinal analysis. Although it enjoys constitutional protection, satire must be exercised with respect for fundamental values (Right to Satire and Freedom of Expression: Characteristics and Limits, 2023), never falling into contempt for the person, situation, or class being satirized. Moreover, it must have a certain utility and functionality in the expressions or images chosen concerning the purpose of the political denunciation pursued (Radi, 2023) and must not exceed the limit of verbal moderation.

The limits to this practice arise to protect the reputation of the “targeted” subject, who might report defamatory behavior (Art. 595 Italian penal code – defamation). Yet, unlike reporting and criticism, satire is not bound by the criterion of truth, as it uses paradoxes and metaphors to ironically express a judgment (Radi, 2023).

The situation is similar in Romania, where satire is protected by constitutional provisions on freedom of expression and subject to the same limitations, to safeguard human dignity, honor, and private life (Art. 30, Romanian Constitution). Both countries, as members of the Council of Europe, are bound by the European Convention on Human Rights (specifically Article 10, on freedom of expression). The European Court of Human Rights has stated that satire is a form of artistic expression and social commentary that, through exaggeration and distortion of reality, is intended to provoke and stimulate public debate.

Undisputed protagonists, masters of satire, are comedians Maurizio Crozza, Serena Dandini, and the Guzzanti siblings – Sabrina, Caterina, and Corrado. Armed with makeup and costumes, these comedians in Italy have made political satire their flagship, through ironic and irreverent sketches targeting the Italian ruling class of the last 20 years. The satirical phenomenon that endures, vibrant and resilient, is exemplified by Crozza. With his show “Fratelli Crozza”, he occupies hours of airtime. Through his imitations and monologues, he impersonates parliamentarians, ministers, and more.

Another famous political-satirical program is broadcast on the La7 network. “Propaganda Live”, hosted by Diego Bianchi, offers a critical and satirical view of Italian political and social current events, combining reportage, interviews, and entertainment moments, providing an alternative perspective on current news. But Italian satire is not only on television: there are also satirical strips in newspapers, such as those born from the pen of cartoonist Makkox published in the newspaper Il Foglio (Il Foglio gallery).

In the Romanian landscape, bittersweet laughter is often the most appreciated remedy in cinema for depicting social dramas and political controversies. Works by directors like Radu Jude, who highlights the social devastation of certain areas of the capital Bucharest in “Do not expect too much from the end of the world” (Toth, 2024), or Marian Crisan who shows the encounter between the political class and the rural area in “Berliner” (Ciccioni, 2021), are just a few examples.

The latest instance where cinema has mocked Romanian politics is “Candidatul Perfect,” released a few weeks before the presidential and parliamentary elections this winter. Director and author Alex Cotet created a light yet biting work, and through his choice of characters and settings, he highlighted his critique of corruption and the Romanian electoral system. He created a true satirical phenomenon in the streets of Bucharest, which were plastered with posters of the film, resembling electoral billboards, hung next to those of actual campaigners.

The film has been praised for its ability to highlight the absurdity and corruption of Romanian politics through sharp humor and exaggerated situations. The plot, which follows an ordinary man manipulated by a corrupt party to run for president, has sparked reflections and discussions on the country’s political reality in terms of corruption, nepotism, and inefficiency (Bogdan, 2024).

And so, laugh. Laugh louder than them. Use satire as social critique, reflect, and stimulate debate. Help keep democracy and freedom of expression alive. Defend your laughter, and highlight the contradictions.

Endnotes